Category: Arts & Life

  • Omatseye to deliver lecture at OAU.

    Omatseye to deliver lecture at OAU.

    Sam Omatseye, the Editorial chairman of The Nation Newspapers,Lagos,will be at the Obafemi Awolowo University,OAU,Ile Ife,Osun State on January 29th. He has been invited by the Faculty of Arts of the institution to deliver it’s second Faculty of Arts distinguished alumni lecture.

    Themed :How to make a Democrat,and to be chaired by the Ekiti State governor,Biodun Oyebanji,Omatseye will also receive a distinguished alumni award by the institution where he graduated from years back.

    Chief host of the event is Dean of Arts,Prof.Gbenga Fasiku. In a letter of invitation, Omatseye was described as an internationally recognized journalist,an alumnus of the Faculty of Arts.

    Read Also: Youth-led dialogue charts path for restoring trust in Nigeria’s elections

    Besides,Omatseye who runs In touch,a column every Monday in The Nation,is a multiple award winning journalist,author and essayist.

    He has authored many books across all genres of literature . He bagged a degree in History from the OAU years back.

    The lecture will take place inside Oduduwa hall of OAU,starting by 11am.

  • Drama, glamour as Sani presents books in Abuja

    Drama, glamour as Sani presents books in Abuja

    By Denja Abdullahi

    What come across to most people about the man Shehu Sani is that of someone, a kind of gadfly, that has from early in the days of his youth been involved in pro-democracy and human rights activism. He seems to have been born inside the trenches of human rights and pro-democracy activism and appears not have left those rough and abrasive terrains, even after having served a tenure in the Nigerian parliament from 2015-2019 as a senator. He stands out ,among very few from his natal origin up the Niger, for his commitment to building a Pan-African and Pan-Nigerian alliance against injustice, oppression and retrogression of any kind.

    That iconoclasm in his socio-political temperament has led him into so many brushes with the establishments that spiralled into hounding and long imprisonment over the 1995 phantom coup during the brutal military regime of General Sani Abacha . He is also one of the few ,out of the large clan of Nigerian activists that fought for the return of democracy in 1999, that did not abandon the political space to military collaborators and apologists ,who later took the democratic laurels for a war they never fought. He was elected into the Nigerian parliament as a senator, served a term and later got caught up against the malevolent and godfather-driven Nigerian politics.  Though he is not in any political or elective position at the moment, he has remained constant in his criticism against political chicanery, social and economic injustices.

    Shehu Sani as writer and author has the following non-fiction texts to his credit :Killing Fields(2007),Poverty in Northern Nigeria(2007), Political Assassination in Nigeria (2007), Scorpions Under Pillow (2007), Civilian Dictators of Africa(2008), Always Wrong, Can Yar’Adua Get It Right (2009), Betrayal and Society(2009), The Children of Kaduna(2011), The Children of Jos(2011), Protest and Freedom(2012), Rebellious Ideas( 2013), Nigeria and Ethiopia:An Analysis of Historical Ties(2013), The Emperor and the War: Haile Selassie and the Nigerian Civil War(2013) and Hatred for Black People(2013). Shehu’s Sani’s fictional texts, which cut across the genres of poetry and drama, like his non-fiction writings, display a commitment to engaging reality from a radical disposition, often leading to the ruffling of societal conscience. There are poetic volumes such as Prison Anthology(2007), The Poems of Peace in the Season of Bloodshed(2007) and plays such as The Phantom Crescent(2009), Thugs at the Helm(2009), The Prisoner’s Life (2007) and The Defiant Emir(2012).

    The other side of Shehu Sani as a writer and literary activist came prominently to the fore at the recent presentation of his latest book The Perilous Path to Europe: The Sahara Odyssey and the premiere of his play The Village and the Vigilante on the 15th of January, 2026 at the Mamman Vatsa Writers’ in Abuja. The occasion , which witnessed a packed hall of over 300 persons made up of about a dozen diplomats from across the world, writers, academics, students from secondary schools and higher institutions around Abuja  and journalists from the electronic and print media, was delivered with precision and premium entertainment by the Orpheus Literary Foundation. The day, which was also the Armed Forces Remembrance Day, began solemnly with a minute silence called by the compere for prayers to be said in remembrance of Major General Mamman Vatsa and other fallen heroes of the Nigerian military.

    Read Also: Tinubu’s Reforms recalibrating Nigeria’s Fourth Republic, says Dare

    The event proceeded with a welcome address delivered by the founder and chairman ,Orpheus Literary Foundation, Mallam Denja Abdullahi, in which he stressed that it was about time Shehu Sani should be engaged and interrogated as a writer, thinker and literary activist, going by the large body of works he has spanning fiction and non-fiction. He pointed out that a cursory look at all his works would reveal the impacts that his  human rights activism, pan-Africanist vision, love for his country, progressive ideals, struggles against social injustice and religious extremism have had on them.

    The President of the Association of Nigerian Authors(ANA) who spoke next itemised a litany of supports the man Shehu Sani has given to the Association in the past and recent times and his unflinching identification with the literary community at all times.

    The event itself was themed around the subject matter of the non-fiction book that was presented at the occasion and formed the focus of the Keynote speech delivered by a renowned international scholar and writer, Prof Emeka Aniagolu, who spoke on the “socio-economic implications of unbridled and irregular migration.”  The theme was further dissected by a panel of experts in the field , Dr Loitse Adam, Dr Kabura Zakama, Dr Dele Kogbe who joined from Belgium and moderated by Ms Esther Adelana. The insightful panel discussion was followed by a book review by Ms Salamatu Sule who posits that Shehu Sani’s  The Perilious Paths to Europe… “documents the tortuous journeys of migrants chasing hope and imagined greener pasture…also functions as a warning about the dire consequences of a battered system.” The book was then unveiled by the galaxy of dignitaries at the event ,including the text of the play to be performed.

    Shehu Sani in his speech, prefacing the performance of the play, which was the star attraction of the day, spoke eloquently on the need for a communal response to the menace of banditry and insecurity across Nigeria. He recalled the long history of successful interventions of the Nigerian military in various flashpoints across the world since the 1960s and the successive Nigerian governments supports for noble causes across Africa and the world. He maintained that the solution to the hydra-headed insecurity problem in Nigeria cannot from abroad or from a world power and that the country should look inward honestly to find solutions that are sustainable. He called on people in the audience not to die without writing their own books.

    He thereafter announced that he had put down his thoughts on the solutions to the menace of banditry prevailing in the society in a dramatic text The Village and the Vigilante  , which he promised to take around the flashpoints in Nigeria in the manner of the travelling theatre. He thus set the stage for the Orpheus Literary Foundation Playhouse, who in  50 minutes electrified the stage with a total theatre performance of songs, dances, hair-raising dialogues and multimedia projections ; enacting scenes after scenes of a village in a courageous conflict with banditry. The villagers emerged victorious at the end in interplay of ingenuity, cooperation among the sexes, concerted actions , display of courage and the exercise of sacrificial leadership. As the applause died down for a well presented debut performance of the play that focussed on an insistent societal problem , Prof Udenta O.Udenta , delivered a vote of thanks , stressing the fact that the art, as seen in the play, could be used to guide the society out of a self-inflicted quagmire.  

    The event came to an end , drawing attention to the other side of Shehu Sani as a writer and literary activist with both books, one presented and the other enacted, distributed free of charge to the mammoth attendees in the bowel of the auditorium of the Chinua Achebe International Conference Centre of the Mamman Vatsa Writers’Village in Abuja.

    •Denja Abdullahi is a former President of ANA and Founder of the Orpheus Literary Foundation          

  • Being visible is easy, but being trusted is not

    Being visible is easy, but being trusted is not

    • By Josephine Michael

    In today’s attention economy, visibility has become the new currency. Everyone wants to be seen. Everyone wants to trend. Everyone wants to “sell.” But somewhere along the line, many professionals, especially in the real estate and service sectors, have confused visibility with credibility.

    Being visible is easy. Being trusted is not.

    We are witnessing a dangerous shift where professionals focus more on aesthetics than substance, more on ‘virality’ than value, and more on appearing successful than being competent. The result is a marketplace filled with loud brands but fragile reputations.

    In real estate, this problem is even more pronounced. Selling properties worth tens or hundreds of millions of naira now happens on platforms where anyone can post anything. Low-quality videos advertise premium assets. Copied captions speak for professionals who have not found their own voice. Artificial intelligence generates testimonials, headshots, and even property visuals that misrepresent reality. All in the name of “marketing.”

    But here is the uncomfortable truth: You cannot out-market incompetence forever.

    When branding becomes a liability

    Branding was never meant to be cosmetic. At its core, branding is reputation management. It is the alignment between what you promise and what you can deliver. When those two are disconnected, branding becomes a liability rather than an asset.

    Clients today are not just buying land or property; they are buying confidence. Confidence in documentation. Confidence in process. Confidence in integrity. And no amount of filters, trendy audios, or polished graphics can replace that.

    The modern client is more informed, more skeptical, and more emotionally intelligent than ever before. They can sense inconsistency. They can smell exaggeration. They can tell when a brand is trying too hard to sell instead of genuinely trying to serve.

    The illusion of shortcuts

    Technology has given professionals powerful tools, but the tools are neutral. How they are used determines their impact.

    Artificial intelligence, for example, should enhance clarity, not create deception. It should support creativity, not manufacture false credibility. When professionals use AI to fabricate client testimonials, misrepresent property locations, or create identities that do not exist, they are not innovating; they are eroding trust.

    And trust, once broken, is expensive to rebuild.

    Why the future belongs to credible brands

    The professionals who will dominate 2026 and beyond are not necessarily the loudest. They are the clearest. The most consistent. The most intentional.

    They understand that: Premium clients are attracted to clarity, not chaos; serious investors value transparency over hype; long-term success is built on reputation, not shortcuts.

    These professionals invest in their thinking before their sellings. They refine their message. They document real stories. They show their process. They educate before they persuade.

    In other words, they brand before they sell.

    A necessary reset

    This is a call for a reset, not just for realtors but for professionals across industries.

    Before you post, ask: Does this reflect who I truly am? Can I defend this claim offline? Does my brand inspire confidence or confusion?

    The future does not belong to those who are everywhere. It belongs to those who are trusted.

    Because in the end, visibility may open the door, but credibility is what keeps clients inside.

    About the Author

    Josephine Michael is a Chartered Digital Marketer, Brand Communications Strategist, and PR expert with extensive experience working with real estate developers, Realtors, and property brands. She specializes in helping professionals build visibility, authority, and sustainable growth through strategic brand positioning and communication.

  • With wings of faith & reason: Reviewing Ukpongʼs God In The City

    With wings of faith & reason: Reviewing Ukpongʼs God In The City

    • By Sima Essien

    When Friedrich Nietzsche famously declared that “God is dead,” he was not announcing the literal death of the Christian God or any other religious deity. Rather, he was diagnosing the erosion of belief in a universal, transcendent source of meaning and truth. In an age increasingly shaped by science, technology, and rationalism, traditional religious frameworks in Europe were losing authority, leaving humanity to confront a profound moral and existential vacuum.

    In a way, God In The City can stand as a decisive rebuttal to Nietzscheʼs diagnosis. This is because against Nietzsche’s feared void, Ukpong offers a vision of renewed moral consciousness, one in which God is not dead, but urgently alive, calling His children back to responsibility, justice, and the fullness of their own humanity.

    This book is a collection of published and unpublished papers that advances a compelling argument for the reality of a divine moral order and the urgent need to reintegrate this order into the fabric of contemporary society. Written over a decade, the book reflects the sustained intellectual and pastoral engagement of Rev. Fr. Donatus Pius Ukpong—Catholic priest, Professor of Systematic Theology and Pentecostal Studies at the University of Uyo, Director of the Centre for Deep Dialogue and Critical Thinking, and CEO of the Mobile Manna Foundation. Published to mark the silver jubilee of his priestly ordination, the volume stands both as a celebration of vocation and a rigorous intervention in public, theological, and ethical discourse.

    At its core, God In The City seeks to bridge the often-presumed divide between faith and reason, belief and logic, the transcendent and the material. Ukpong’s project is unapologetically ambitious: he interrogates the moral and spiritual crises of modern society, particularly Nigeria, through a panoramic lens that brings theology into conversation with politics, education, resource control, human rights, gender, youth culture, mental health, drug abuse, parenting, and policing. The “city” functions here not merely as a physical space, but as a symbol of civilized humanity, where moral decay and ethical renewal are most starkly visible. For Ukpong, the city’s many afflictions signal a deeper godlessness, one that can only be addressed through a revival of moral consciousness grounded in divine principles.

    This prophetic posture situates Ukpong firmly within a long biblical tradition. In biblical scripture, figures such as Elijah, Isaiah, and Jeremiah spoke boldly against social injustice, corruption, and failed leadership. Whenever societies strayed from divine precepts, the prophets issued warnings, demanded repentance, and called leaders and citizens alike back to moral accountability. Through his writings, Ukpong assumes a similar role in the contemporary Nigerian context, addressing a nation fractured by inequality, exploitation, and ethical exhaustion. This alignment with social justice is evident early in the book, where he observes: “For a government not to protect the coastal communities…but to rely heavily on their mineral resources could be described as a crime against humanity…” (pp. 25–26). The statement is not merely rhetorical; it establishes a moral framework that runs consistently throughout the work.

    That moral urgency intensifies in subsequent chapters, where Ukpong envisions a society reordered around justice, equity, and responsibility. He imagines a future marked by “the elimination of structures of sin and the correction of perennial injustice” (p. 31), arguing that political corruption remains one of the most destructive forces undermining national development. For Ukpong, progress is not measured by economic growth alone, but by how God-given resources are deployed to uplift human lives and preserve the natural environment. Prosperity divorced from ethics, he insists, is ultimately self-defeating.

    In Chapter 2, Ukpong turns to education as a transformative tool, emphasizing the role of Christian theology in shaping the moral and spiritual consciousness of individuals. Christianity, he argues, possesses the capacity to reconstitute the human person by “…nurturing and fostering the Kingdom within a person” (p. 54). Spirituality, in this sense, is not abstract or escapist, but a “conscious and conscientious translation of spiritual realities” into lived identity. Such interior transformation enables individuals to transcend selfish impulses, confront injustice, protect the environment, and creatively harness resources for the common good. Here, Ukpong’s vision of faith is deeply practical, rooted in ethical action rather than passive belief.

    Throughout the book, Ukpong repeatedly invokes the theological principle of fides quaerens intellectum—faith seeking understanding. He presents faith and reason not as antagonists, but as complementary forces capable of generating heightened awareness and moral clarity. This synthesis, he maintains, can only flourish in a society where “God is always at the centre.” Consequently, Chapter 3 foregrounds the role of the church as a formative institution, one tasked with shaping “the conscience of many citizens.” Such moral formation, Ukpong argues, is essential for national productivity and sustainable progress. This call is particularly resonant in an era where religion has often been distorted to justify violence, deepen divisions, and legitimize abuse and oppression. Ukpong’s intervention seeks to reclaim faith as a force for unity, justice, and ethical renewal rather than exclusion or domination.

    Chapter 4, “Religion & Mental Healthcare In the City,” marks one of the book’s most socially urgent contributions. Ukpong confronts the widespread neglect and maltreatment of individuals with mental illness in Nigeria, condemning stigmatization and inhumane practices that persist under the guise of spirituality. He advocates a decisive paradigm shift, one grounded in collaboration between religious institutions and healthcare professionals. This argument is not merely theoretical; it is informed by his practical engagement as CEO of the Mobile Manna Foundation, a non-governmental organization dedicated to mental health interventions. By linking theology with medical science and social care, Ukpong demonstrates how faith can function as a partner in healing rather than a substitute for professional treatment.

    In the chapters that follow, Ukpong’s activist impulse becomes even more pronounced. He calls for comprehensive structural reforms to dismantle outdated and harmful systems that perpetuate human rights abuses, police brutality, gender-based subjugation, corruption, drug abuse, and youth marginalization. In Chapter 5, Pain and Suffering in the City, he insists that “human responsibility for the elimination of evil” (p. 117) must evolve into a “collective responsibility” (p. 120). Moral renewal, he argues, cannot be delegated to isolated institutions or individuals. Instead, it requires an all-hands-on-deck approach, one that Chapter 6 presents as a synergy of governmental will, civic responsibility, and divine guidance.

    Chapter 8 extends this ethical vision into the spiritual economy, asserting that “The gifts of the Spirit are for the ordering of the economy of the spiritual world…” (p. 150). For Ukpong, the failure to deploy these gifts in service of the vulnerable is a clear marker of societal godlessness. True spirituality, he contends, is revealed in stewardship, compassion, and solidarity with the marginalized.

    What ultimately distinguishes God In The City is the breadth and depth of its intellectual grounding. Ukpong’s arguments are enriched by insights from philosophy, theology, science, political science, history, gender studies, constitutional law, economics, and literature. These interdisciplinary foundations lend the book both scholarly credibility and practical relevance. His central conviction—that human fulfillment cannot be severed from fidelity to the Creator—culminates in the assertion that to “venerate God is to discover the true face of humanity” (p. 192). In this light, Ukpong’s self-understanding as “a priest…a man of God and the city, bringing God into the city and the city to God” encapsulates the book’s animating vision.

    God In The City is ideally suited for critical thinkers, students, scholars, socially conscious readers, and those disillusioned by distorted religious teachings yet still searching for ethical clarity and meaning. More than ever, the modern city stands in need of a God who dwells not only above, but within and among humanity. As such, books such as this are indispensable to public discourse, offering both moral imagination and scholarly rigor as we strive to better understand ourselves, our societies, and the spiritual foundations that sustain them.

    • Sima Essien is an award-winning writer based in Uyo, Nigeria.
  • Nwokeji emerges Champion Newspapers businessman of the Year

    Nwokeji emerges Champion Newspapers businessman of the Year

    The Executive Vice Chairman of a leading mining company in Nigeria, Zotmann Mining Limited, Chief Victor Nwokeji, has been named the Champion Newspapers Businessman of the Year.

    The Management and Staff of Champion Newspapers, particularly the publishers of Daily and Weekend Champion, disclosed this in an award letter signed by the Group Managing Director/Editor-in-Chief, (Dr.) Mrs. Nwadiuto Iheakanwa.

    According to Iheakanwa, “It is my delight and honour to inform you of your emergence as winner of Champion Newspapers’ 2025 Businessman of the Year Award.

    “The award, which is a product of the painstaking selection of our Board of Editors, is our modest way of recognizing organizations and leaders in both public and private sectors of the economy who have made greater sacrifices in ensuring that the fundamental objectives and ideals of our nationhood are sustained, as well as promoting good governance and corporate services.

    On all scores, she said, “our findings, largely corroborated by that of our independent assessors, confirm that Zotmann Mining Limited, which started as a strategic pivot to secure foreign exchange, has transformed into a multi-sectoral conglomerate that is competitive in the mining sector of the economy.

    Read Also: Top 30 start-up finalists for technology award

    “Zotmann Mining Ltd has, in line with its vision to become the leading Mining Company, identified a critical capacity gap in the Nigerian mining sector, where many license holders possessed the land rights but lacked the technical and mechanical strength to do so.

    Following the company’s commitment to innovation and professionalism, the Group Managing Director/Editor-in-Chief of the Champion Newspapers disclosed that Zotmann has become the mining company of first choice among teeming customers.

    She added that Chief Victor Nwokeji, the Executive Vice Chairman of Zotmann Mining Limited, is a philanthropist whose passion for human development is top-notch.

    As watchdog of society, Iheakanwa said, “It is our duty not only to track and document your performance but also to acknowledge your commitment to serve and your doggedness to transform the Nigerian society. On behalf of Champion Newspapers Limited, I congratulate you on this profound achievement.”

  • Ogboni initiation: window to Yoruba heritage

    Ogboni initiation: window to Yoruba heritage

    By Opaleye Olakitan

    The Yoruba are one of the major ethnic groups in West Africa, predominantly found in southwestern Nigeria. Known for their rich traditions, structured political systems, and strong moral values, the Yoruba have preserved their heritage through institutions such as kingship, councils of elders, and traditional societies. Among these, the Ogboni Society holds a respected position.

    The Ogboni Society is traditionally regarded as a custodian of truth, justice, and communal harmony. Central to its belief system is Ile (the earth), seen as sacred and as the ultimate witness to human actions. Contrary to popular misconceptions, Ogboni is not built on secrecy alone, but on moral responsibility and service to the community.

    Initiation into the Ogboni Society marks an individual’s readiness to shoulder communal duties. Membership is typically extended to elders and respected individuals known for integrity and good character. Before initiation, candidates are instructed in key values such as honesty, discipline, respect for elders, and commitment to peace.

    READ ALSO; Arewa, this has to stop

    While the deeper rituals remain sacred, initiation symbolically emphasizes the initiate’s bond with the earth and the pursuit of balance and justice. This is often represented by the Edan Ogboni, a pair of brass figures symbolizing unity, truth, and accountability.

    Importance of the Ogboni Society includes preserves Yoruba moral values and traditions, upholds justice and truth in society, promotes peace and social stability, and protects the sanctity of land and ancestral laws.

    Roles of the Ogboni Society includes advising traditional rulers on governance, settling disputes and mediating conflicts, enforcing customary laws and ethical conduct and safeguarding community interests.

    Ultimately, Ogboni initiation is less about mystery and more about service. It reflects core Yoruba ideals where leadership is defined by wisdom, fairness, and responsibility to the land and the people.

    • Opaleye is Asst. Chief Museum Education Officer (ACMEO), Education Unnit, National Museum, Lagos.

  • NFVCB: how growth and diversity drive Nollywood

    NFVCB: how growth and diversity drive Nollywood

    • Board classifies 1,185 films, pushes for name change

    national  Film and Video Censors Board (NFVCB) has said sustained growth and diversity drive the Nigeria film industry to higher success.  This is just as the board approved and classified 1,185 films between January and December 2025, underscoring an upsurge of activity in the sector.

    According to the annual classification report, the films approved during the year spanned a wide range of genres and languages, reflecting both the vibrancy of local film production and the continued submission of foreign-language content for classification in Nigeria. By comparison, the Board classified 1,088 films in 2024, indicating a consistently high level of industry engagement.

    English-language films accounted for the highest number of approvals throughout the year, reaffirming their dominance in Nigeria’s film production landscape. Yoruba and Igbo films followed, while Hausa and other indigenous Nigerian language films appeared less frequently. The report, however, noted a broader representation of indigenous languages—such as Nupe, Berom, and Gbagyi—particularly in September 2025, highlighting Nigeria’s cultural diversity. Foreign-language films, including those in Hindi, French, and Japanese, were also classified during the year.

    In terms of audience classification, the data reveal a strong concentration of 15 and 18 ratings across all months, indicating that most films approved in 2025 were targeted at mature audiences. Family-friendly classifications such as G, PG, and 12A were comparatively fewer, suggesting limited production of children’s and general-audience content during the year.

    READ ALSO: Tax reform: Lessons for national health financing

    Monthly analysis showed that May 2025 recorded the highest number of film approvals, with 173 titles classified. Overall trends for the year indicate: a consistent dominance of English-language films in monthly approvals; a clear majority of films classified under mature ratings (15 and 18); growing, though still limited, inclusion of indigenous Nigerian languages beyond the major ones.

    Commenting on the report, the Board reiterated its commitment to encouraging greater diversity in film production, particularly increased investment in family-friendly content and wider use of Nigeria’s indigenous languages. This aligns with the Executive Director’s ongoing emphasis on promoting cultural representation and inclusivity within the nation’s film industry. The Board had in a bid to encourage more indigenous language films reduced the classification fees of indigenous language films outside of Igbo, Youruba and Hausa.

    The Board affirmed that the 2025 classification figures demonstrate sustained momentum in Nigeria’s film sector and reaffirm the NFVCB’s role in ensuring responsible content classification while supporting industry growth.

    Speaking at an interactive session with Arts Writers in Lagos, the Executive Director of National Film and Video Censors Board (NFVCB) ,Dr. Shaibu Husseini, lamented that despite the production capacity of the industry, a culture of bypassing the regulator is starving the sector of its accurate data needed to attract massive global investment. He identified lack of institutional registration as an obstacle to Nollywood’s growth.

    “The law says that once a film is produced in this country, or imported to be distributed, it must be classified and registered by the NFVCB. But with technology that allows you to distribute your film with your phone from your home, a lot of people don’t bother to send those films to us.”  He noted that this setback creates a false narrative in the international market regarding the industry’s scale.

    “Investors want to know numbers, but we can’t give them accurate numbers. We are reporting about 2,800 films annually, but it is not true. We make more than that. I dare say we make close to 800 films a month in this country. I know a single lady who produces four films in a month. If we don’t have an index of these films, we cannot have a truly recognised industry.” To him, there will be vigorous enforcement this year in order to combat the menace.

    “This year, we are going to spend time implementing that aspect of our law that makes it mandatory for you to send your film to us for classification and registration. We are supposed to keep a register of films.”

    In sync with global best practices, Husseini has initiated a name change for the board to National Film and Video Classification Board, which according to him, is being attended to by the National Assembly.

    Seeking the support and cooperation of the Arts Writers, the ED stressed that the public needs to be educated, particularly on films that attract undue controversies such as Ini Edo’s A Very Dirty Christmas.

     “People need to understand that these things are fiction. Regarding the Christmas film title, it was a metaphor; the film had absolutely nothing to do with the Nativity of Christ. However, the law provides that where there is a public outcry, we can review. We reached an understanding with the filmmakers that the film will be retitled before moving to any other platform.

    “A single line can finish a whole film. We watch for those things— not to ban, but to restrict and ensure we don’t use the medium of film to generalise or cause division,” he added.

  • Artist seeks justice after attack

    Artist seeks justice after attack

    To most artists, holding an art exhibition is akin to taking delivery of a new born baby. It is not only a bundle of joy, but also a fulfillment of a dream and an unhindered expression of inner minds. But, for Nigerian visual artist, Mr. Oguntimehin Adeyemi Ariyo, his experiences shortly after the close of his recent 8-day solo exhibition, Muted Loud were devoid of that joy and fulfillment. He lost two paintings to attackers, while five works were destroyed.

    He survived a targeted attack on Friday January 9, by 9pm while returning from venue of the exhibition, Tosho Art Gallery, Lekki Phase 1, Lagos. The incident, according to him,  occurred on the long bridge on Lagos–Ibadan Expressway, where his artworks were damaged and some stolen, while the artist narrowly escaped being killed.

    Narrating his oredal, the artist said the attack took place while he was returning with the unsold artworks after the close of the exhibition.. “The assailants reportedly focused on destroying and carting away artworks, suggesting a deliberate attempt to silence or intimidate the artist rather than a random act of violence,” he said.

    Continuing, Ariyo said: “This attack was not just on me as an individual, but on my voice as an artist. My works speak for the silenced, and it appears some group of people wanted those voices erased.”

    READ ALSO; Arewa, this has to stop

    Muted Loud, which ran between December 12 and 19, is an exhibition of 35 drawings and paintings that confronts themes of religious intolerance, human suffering, and freedom of expression in Nigeria. The show has attracted attention for its bold visual narratives and advocacy-driven content.

    He recalled that at the exhibition opening, some people in the gallery were not pleased with the works because of the religious undertone.

    “Even when I was being attacked, they expressed their disslike verbally too,” he added.

    Following the attack, the artist reported the incident at the nearest police station in Warewa, Ogun State, where a complaint was lodged and investigations were expected to commence.

    The incident has sparked renewed concerns among artists, culture practitioners and human-rights community about the safety of artists in Nigeria, particularly those whose works address sensitive social and religious issues. Advocates are calling for a thorough investigation, recovery of the stolen artworks, and stronger protections for creative expression.

    As the case unfolds, the attack on Ariyo stands as a troubling reminder of the risks faced by artists who challenge silence and injustice through their works. 

    Among Ariyo’s works that perhaps drew the ire of the attackers include Beneath the Cross, The fellowship series, The Jihadist stories, Scent of a woman, The cross wept, The Just shall leave by fate, The conformist 1&2, The clergy, the pains, we can’t say it all, What they did, Submission, In his presence, The last disciple, Serenity, and We will never give up.

    The  2000 graduate of printing from Auchi Polytechnic and CEO Greener Expressions Ventures, described his exhibition as a paradox—strength expressed through restraint, whispers that roar louder than screams. The solo show investigates the tension between silence and voice, belief and doubt, reverence and rebellion.

    “Through a series of paintings and mixed-media works, I reflect on my personal journey with religion, the myths that shaped my upbringing, and the unspoken struggles of faith and identity.“Religion and belief often demand silence, obedience, and conformity, yet within that silence lies a loudness questions, resistance, and truths that cannot be erased. My work captures that paradox: images that are visually muted in tone yet loud in meaning. The pieces borrow symbols from myth, ritual, and sacred traditions, reshaping them into a language of both critique and remembrance,” he said in a brochure to the exhibition.

    To the gallery proprietor, Ahmed Nurudeen Omotosho, the show is more than an exhibition, as it is an invitation. He said through bold symbolism, layered textures, and emotionally charged compositions, Ariyo asks viewers to confront their assumptions while rediscovering the humanity that binds us together across lines of faith.

    According to him, each piece functions as a visual dialogue honest, courageous, and necessary. “This body of work arrives at a critical moment in Nigeria’s cultural conversation. As tensions rise around issues of religious freedom and coexistence, Ariyo’s artistic voice urges us toward empathy. His belief that art can speak where words fail is powerfully evident throughout this exhibition. The works do not impose answers; they open doors—to reflection, healing, and collective responsibility,” he added.

  • Cultural significance of motif-carved doors

    Cultural significance of motif-carved doors

    By Aderemi Michael

    In many Yoruba communities, art is not separated from daily life; it is woven into architecture, ritual and identity. In Okeigbo, Ondo State, one of the most striking expressions of this tradition is the motif-carved wooden door panel — an object that functions not only as an entrance, but also as a cultural text, a spiritual symbol and a marker of social identity. Found in palaces, shrines and ancestral compounds, these doors go far beyond decoration. They communicate meaning, memory and authority, silently narrating the worldview of the people who created and used them.

    Okeigbo is a historic Yoruba town located in present-day Ondo State. Oral traditions trace its origins to early migration waves from Ile-Ife and surrounding Yoruba settlements, with its growth shaped by kingship, warfare, trade and craftsmanship. Over time, Okeigbo developed strong communal institutions and a rich heritage of oral history, festivals and artistic traditions, particularly in wood-carving and architectural expression. Its cultural landscape reflects a blend of ancestral lineage, chieftaincy structures and religious practices that continue to define social life today. It is within this historical environment that the tradition of motif-carved door panels evolved and flourished.

    A craft rooted in identity and knowledge

    The carving of door panels in Okeigbo is rooted in the skill and insight of indigenous wood-carvers who combined artistry with cultural interpretation. The carver was more than a craftsman; he was a custodian of symbolic knowledge, translating beliefs, social values and collective memory into visual form. The choice of wood, the arrangement of motifs and the rhythm of carving were deliberate, especially when the door was intended for a sacred or prestigious space. In many instances, the process itself carried ritual awareness, underscoring the spiritual importance of the finished work.

    READ ALSO: Tax reform: Lessons for national health financing

    Symbols that speak

    The motifs on these doors are rich with layered meanings. Common forms include animals, human figures, crowns, drums, weapons, masks and geometric patterns — each communicating aspects of authority, spirituality or identity.

    Elephant motifs evoke strength, dignity and leadership.

    Crocodile and reptile figures convey resilience, vigilance and spiritual consciousness.

    Interlocking and geometric designs suggest unity, continuity and the cycles of existence.

    Human figures may depict lineage heads, ancestors, warriors or ritual custodians.

    To elders and cultural interpreters, these carvings function as a visual archive — preserving knowledge that predates writing and formal documentation. The door becomes a silent text that records memory, reinforces values and reflects the cosmology of the community.

    Uses and social functions

    Motif-carved doors in Okeigbo perform multiple roles beyond aesthetics. In palaces and chieftaincy houses, they signify prestige, power and social status, distinguishing important spaces from ordinary dwellings. In ancestral compounds, the doors mark symbolic thresholds between the living and the departed, reinforcing kinship bonds and collective memory. In shrines and sacred spaces, the carved panel represents protection and reverence, announcing the spiritual significance of the space within.

    The door also acts as a cultural identity marker. Long before a visitor steps into a compound, the motifs already introduce the household — its history, beliefs and social standing. In this sense, the door becomes an extension of oral tradition, communicating silently yet powerfully.

    Cultural representation in a changing world

    These doors reflect the Yoruba understanding that beauty, spirituality and social order are interconnected. They demonstrate that architecture can embody culture, and that everyday objects can carry historical, philosophical and symbolic meaning. However, modernization and urban building practices now threaten many of these heritage pieces. Some panels have been removed or sold as art objects, while others deteriorate through neglect and environmental exposure. When these doors are displaced from their original contexts, the stories and meanings they embody risk being lost.

    Preservation and continuity

    There is an urgent need for documentation, community sensitization and collaborative heritage preservation. Museums, cultural agencies and local custodians can work together to record surviving panels, support conservation efforts and encourage younger artisans to sustain the carving tradition — whether through restoration, apprenticeships or contemporary adaptations. Preserving these doors is not only about protecting wood; it is about safeguarding memory, identity and cultural knowledge. They remind present and future generations that indigenous creativity is both intellectual and spiritual, grounded in a worldview that values symbolism, continuity and community.

    Motif-carved doors in Okeigbo stand as silent storytellers. They show that culture is transmitted not only through speech or writing, but also through objects that guard our spaces and reflect our beliefs. To value and preserve them is to honour the ingenuity of the craftsmen who produced them and the heritage of the people who lived behind them. Beyond decoration, these doors embody history, spirituality and identity — and they deserve recognition as vital elements of Nigeria’s cultural legacy.

    • Aderemi Michael is Assistant Chief Museum Education Officer, National Museum, Onikan, Lagos.

  • NTDA, FAAN to revive tourism information desks at airports

    NTDA, FAAN to revive tourism information desks at airports

    The management of Nigerian Tourism Development Authority (NTDA) and the Federal Airports Authority of Nigeria (FAAN), have begun plans to revive dedicated tourism information desks at major airports across the country.

    Director-General (NTDA), Dr. Olayiwola Awakan who recently paid a courtesy visit to the Managing Director/Chief Executive of FAAN, Mrs. Olubunmi Kuku, at FAAN headquarters, Lagos said airports represent the first and most critical point of contact for international visitors, making them essential gateways to Nigeria’s tourism experience.

    “Tourism is about movement,” he said, “and FAAN plays a huge role in that because for anyone coming into the country, airports are their first point of contact.”

    Describing Nigeria as ‘sitting on a gold mine’ of tourism opportunities in every region; from cultural heritage and natural landscapes to eco-tourism and adventure destinations, he  called for a powerful combination of compelling storytelling, reliable data, and seamless travel experiences to reposition the nation as a world-class destination.

    READ ALSO; Arewa, this has to stop

    At the core of the discussion was Dr. Awakan’s strong appeal for the return of tourism information desks at airports, which would offer arriving passengers immediate access to tour guides, maps, attraction highlights, and local travel options.

    According to him, the international airports across the country will be considered for the revival of the desk, adding that a committee has been set up to work out the modalities for its reactivation. He disclosed that take off time will be end of second quarter of the year.

    “The international airports will be considered. We have set up a committee to look into the structure, and we hope to commence hopefully by end of second quarter,” he said.

    Among Nigeria’s international airports are Murtala Muhammed International Airport, Lagos; Mallam Aminu Kano International Airport, Kano; Port Harcourt International Airport; Akanu Ibiam International Airport Enugu; and Nnamdi Azikiwe International Airport, Abuja. 

    Mrs. Kuku welcomed the renewed partnership, describing aviation and tourism as ‘naturally interconnected’ and commending Dr. Awakan for his consistent support and friendship over the years.

    She affirmed FAAN’s full readiness to collaborate closely with NTDA to enhance passenger experience, upgrade airport infrastructure, and drive growth in both domestic and international tourism arrivals.

    At the end of the meeting, the two leaders established a joint committee to coordinate data sharing and oversee ongoing collaborative initiatives between the two agencies.

    The renewed focus on airport-based tourism support is expected to create a more welcoming first impression for visitors and help showcase Nigeria’s rich diversity right from the moment of arrival.

    Recall that these dedicated Tourism Information Desks were operational in major airports across the country during the tenure of Mrs. Sally Mbanefo as Director General of NTDC then, which formed part of the critical sub-unit of marketing and promotion department of the corporation. The reviving of the desk is not only a right step in right direction, but also a strategic boost to Nigeria’s tourism development