Category: Arts & Life

  • The traditional, spiritual significance of broom

    The traditional, spiritual significance of broom

    Yoruba are culturally groomed people who cannot do without the art and the use of cultural elements in their day to day activities and fact findings. They occupy the geographical delineation on the map of Nigeria called South-West region.

    Yoruba speaking region includes the following states: Lagos, Ogun, Ondo, Ekiti, Osun and Oyo states etc.

    It’s however believed that Oduduwa, the progenitor of the Yorubas, settled in Ile-Ife with a large family due to development settled at different locations and environment but didn’t forget their sources and oneness which broom represents. That’s why anytime Yoruba wants to relocate or travel to another environment or cross country, an adage goes like this” Ese rayin ni osusu owo” i.e, always bind ourselves like a bunch of broom.

    It is an inevitable tooling in a house, home or office. It’s a cleaning tool consisting of stick, stuff fibres attached to and roughly parallel to a cylindrical handle, the broom stick. It’s an implement for sweeping, consisting of brush of straw or strands of synthetic material bound tightly to the end.

    Sources of broom include palm trees, coconut trees and raffia palm.  

    Products from palm tree are palm oil, palm wine, palm kernel, kernel oil, trunk for furniture industries; roofing, bridges construction, palm front (used for roofing): broom making, basket making, empty bunch (soap making), immature nut (curing fibroid in women), and tooth pick from broom used in the restaurants.

    In Southern Nigeria, as in much of tropical and equatorial Africa, people make brooms by grouping together the excised midribs of Palm fronds and tying them with fiber into a bundle.

    These bundles are democratic things – they brush aside accumulated filth on the floors of small family homes and Royal palaces alike. Brooms are also used to clear exterior spaces, areas of human activity that might be overgrown by plant, evaded by low-lying snakes, scorpions and the like, or just scattered with the inevitable detritus of everyday life.

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    In any culture to use a broom is to engage in a defining act of civilization; to sweep is to assert the boundaries of one’s dwelling space and to defend that space against the natural forces of entropy. In every Yoruba household I have ever visited, sweeping is an important daily activity. It’s through sweeping that environment is restored. The broom is used to sweep and rejuvenation is caused to exist and the newness is sustained within the habitat and society.

    For sweeping: The use of broom for sweeping cuts across all the ethnic groups in Nigeria, including Hausa, Igbo and the Yorubas.

    • For roofing (slates)

    • Used for making draw-soup called “Ewedu” among Yorubas,    also known and used by other ethnic groups in Nigeria.

    •Always on the side of elderly people, on their bed-side to driveaway flies and mosquitoes.

    • Political party symbol in Nigeria presently-(APC).

    •In Igbo land, traditional dancers use it as part of dancing costumes.

    • It’s tied round the neck of their goat for security among Delta people meaning, it’s no go area for thieves.

    Position of broom in Yoruba traditions

    Broom is so significant to Yorubas in that, it’s search light into day to day activities and into future endeavors and it is a tool in the act of divination. In the religious system of Orisha worship, Oba Oluaye is the praise name of the Spirit of the Earth and strongly associated with infectious diseases and healings. He is an Orisha representing the deity Olorun on Earth. The exercise of his authority on Earth includes the body, wealth and possessions. He was strongly associated with small pox, he cures ailments, both referred to as the “wrath of the supreme god” because he punished people for their transgressions. His ritual tools include a ritual broom for purification.

    Ogun Deity: The God of iron and warfare uses Palm front as clothing. He is the partfinder, way maker. He creates ways for others to follow into their different (journey of destiny) endeavors.

    Spiritual Significance of brooms in Yoruba traditions

    •Used as shrine door in most ritual centers among the Yorubas.  Meaning it’s a no-go area to strangers or non- members (Sacred to them).

    •Weapons of warfare: Due to the spiritual connotation and attachment to it, it was used as a weapon of warfare during the Ife/Modakeke War in Osun State, Southwest Nigeria. In those days for slaughtering their opponents.

    Security apparatus: Charmed broom is hanged at the back of the door frame of a building among the Yorubas for protection and a security device against robbery and theft. The moment you gain access in to the premises, going out with the stolen items becomes difficult, the thief will pick the broom and begin to sweep until the owner comes around.

    •symbolises power and authority in Yorubaland, for sending messages, riddles, oneness of purpose and for disputes resolutions.

    •broom is associated with Obalua-aye, which afflicts people with Chicken-pox. The moment it’s noticed that Chicken-pox has affected one person in a home, it’s advisable to stop sweeping that house with broom and immediately transfer their brooms outside the house in order to stop the spread of the Chicken-pox.

    •For purification and cleansing of the land. It is forbidden among Yorubas to commit suicide or sleeping with a woman on a bare ground. The implication is that;

    (1) It will lead to poor agricultural yield of farm produce.

    (2) Their livestock’s will start dying one after the other.

    (3) Their children will start falling sick.

    (4) Used in the deliverance of Demon possessed individuals like witchcraft, evil spirit e.t.c

    *Symbolises unity of people and oneness among Yorubas, especially the art of Divination and the Ogboni Secret Cult members. It is used as (AROKO) message of peace among or between warring communities, meaning war has ended, bits time to remain united and bonded together like a bunch of broom. On the other hand, when a strand or a stick of broom is removed and used as a message to another warring community, it signifies that everybody should be separated apart, no more unity or togetherness and however, that’s the beginning of war.

    •Used in casting spell called (MAGUN) thunder bolt on sexually promiscuous women among Yoruba. It is usually done with a stick of broom with other cultural materials with some incantations, and then kept at the entrance where the woman suspected of marital unfaithfulness will cross-over it, and immediately it will become potent on her body. If after seven days she doesn’t have sexual intercourse with a man she will die.

    *It is used as a tool of discipline to wicked people or individuals (e.g. Police Officer or wicked Boss)

    *Used as charm for business boom or prosperity among market men and women. Such broom is very special to their owners, they don’t allow others or sales girl to sweep their shop or office because of some incantations that are involved while sweeping, it’s a secret of their success.

    •Used in some churches among Yoruba, especially during December time, their pastors or shepherds will ask them to bring *new brooms* for special prayers and anointing oil in order to ward off evil occurrence among their family.

    •It is used for casting spells or placing a curse

    • Oloruntosin is HOD Education Dept, National Museum, Lagos.
  • Why Imo community honoured son with title

    Why Imo community honoured son with title

    In a moment that blended tradition with gratitude, His Royal Highness Eze Jude Uwalaka, Ihi III of Umuihi and Chairman of the Imo Traditional Institution and Community Policing in Ihitte/Uboma Local Government Area, led the conferment of High Chief title on one of Umuihi and Ihitte/Uboma illustrious sons, Chief Dr. Eze Onyegbule Okubuiro. Dr. Okubuiro’s selfless contributions to the welfare of his people—spanning educational sponsorships, community upliftment, and unwavering loyalty—reverberated strongly enough to earn him the rare honour even in absentia.

    What unfolded was not just a title bestowal, but a symbolic celebration of merit, unity, and the enduring values that define the ancient Umuihi Kingdom.

    Eze Jude Uwalaka, Ihi III of Umuihi, and Ambassador of Peace, explained the rationale behind the conferment of a High-Chief title on one of the community’s distinguished sons, Dr. Okubuiro, who resides overseas.

    Speaking on the honour, Eze Uwalaka said the title was bestowed in recognition of Dr. Okubuiro’s outstanding contributions to the community.

    “Eze has proven himself a true son of Umuihi and of Okubuiro descent” the royal father said. “Indeed the support from his Umuoshi kindred and endorsements from other prominent sons and daughters of Umuihi put me in no doubt to his merit of the title.” According to him, the event turned out to be a blessing to the entire community, as it attracted dignitaries from across Nigeria.

    On the criteria for selection, Eze Uwalaka noted that Dr. Okubuiro has been actively supporting his community by sponsoring educational pursuits from primary to university levels, offering financial assistance, and engaging in other philanthropic activities.

    “This title is not just any title—it is reserved for true sons of Umuihi. While others may receive a High-Chief title, anytime and anywhere, the particular one conferred on Dr. Okubuiro cannot be given to an outsider or anyone without Umuihi blood.

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    By virtue of this title, he is now one of the three High-Chiefs in our community, he represents the Umuoshi kindred.

    As long as he lives, no other Umuoshi man can receive that same title,” the monarch clarified.

    He further disclosed that Dr. Okubuiro had previously been honoured with a chieftaincy title in December 2024, adding that when the High-Chief position for Umuoshi became vacant, the community unanimously recommended him.

    “The difference between Chief and High-Chief is like the difference between His Royal Highness, His Royal Majesty, and Imperial Majesty—each denotes a level of honour and responsibility. High-Chief is superior to Chief,” Eze Uwalaka explained.

    Eze Uwalaka emphasised that character matters in such decisions. “No indigene of questionable character would be considered for such an honour. While someone may be given a chieftaincy title for one reason or the other, the High-Chief honour is reserved for individuals of proven integrity and distinguished service.”

    With the new status, Dr. Okubuiro now ranks alongside the Traditional Prime Minister in terms of honour and access to key community matters, he noted, adding that the Prime Minister remains the deputy to the Eze, while the High Chief holds a more senior position among other titled persons.

    Speaking on the honour, Chairman of Ndi Nze and Vice-Chairman of the Cabinet of the Umuihi Ancient Kingdom, Nze Anointing Ihediohanma, highlighted several of his philanthropic achievements, noting that the honouree had, even in absentia, awarded scholarships to students, funded medical treatments for indigent persons at the general hospital, irrespective of the nature of their ailments and supported solar streetlights installation.

    “In the area of security,” he continued, “Dr. Okubuiro has also been instrumental in supporting community efforts to ensure safety and peace. He has empowered small businesses and brought hope to many.”

    Nze Ihediohanma, who received the title on behalf of Dr. Okubuiro, explained that the conferment was not a unilateral decision by a single traditional ruler, but rather a collective endorsement by all the Ezes in Ihitte/Uboma Local Government Area. “Even monarchs who couldn’t attend in person sent representatives,” he said.

    He further explained that Ihitte/Uboma consists of ten electoral wards. “By tradition, Umuihi leads the way in ‘Mbom Uzo’ (the ceremonial path-clearing) in Ihitte clan. This title wasn’t given by Umuihi alone. All the Ezes from both Ihitte and Uboma joined hands in honouring him as has been proven by their presence.”

    He clarified that Dr. Okubuiro neither lobbied for the title nor requested it. “High-Chief is not a title given carelessly. It is earned through visible, verifiable deeds. As the Bible says, ‘Let your good works shine before men so they may glorify your Father in heaven.’”

    He said the chieftaincy title ‘Osinanwata Buru Eze’ Dr. Okubuiro had earlier received and the quick progression to High Chief status was due to the overwhelming recognition of his continued service to the people. “When a community feels indebted to someone, this is how they express their appreciation,” he added.

    The title, he emphasized, is for life and cannot be duplicated within the same village. “Umuoshi being the largest of the three villages—Umuokoro, Umuelem, and Umuoshi—has now conferred this once-in-a-lifetime honour. No other individual from Umuoshi will hold this High-Chief title as long as Dr. Okubuiro lives. It is not hereditary, and only one person can bear it.”, he stated.

    A 17-year-old student and JAMB candidate awaiting admission, Onyemee Angel Chidera from Umuoshi, said she and her peers came to celebrate their guardian, Dr. Eze Okubuiro, who has taken it upon himself to support their education.

    “He has come to our rescue, meeting both our educational and personal needs. He paid for our examination fees and is committed to sponsoring our tertiary education,” she said.

    Chidera noted that she and 11 other beneficiaries—both boys and girls—along with other youths within and outside their community, believe Dr. Okubuiro deserves even more than the High-Chief title being conferred on him. “He is a man of his word. This honour will certainly encourage him to do even more,” Chidera added.

    “We, the younger generation, are deeply grateful for this recognition given to him by our community and the Ihitte/Uboma Council of Ndieze. It gives us hope and pride.”

    Describing him as a role model, Chidera said, “We want to be like him. We’re encouraging other young people to look up to individuals like Dr. Okubuiro and follow in their footsteps.”

    She also appealed to other well-placed sons and daughters of the community to join hands with Dr. Okubuiro in supporting the youth for a better future. “Our prayers are that God continues to bless him with wisdom, understanding, and fulfillment. May he enjoy a happy family life, and may celebration never cease in his home.”

  • Lagos begins entrepreneurship training for youths

    Lagos begins entrepreneurship training for youths

    Ministry of Wealth Creation and Employment last Thursday launched a new entrepreneurship training initiative targeted at youths residing in blighted and underserved areas of the state. The initiative, which marked the commencement of the pilot phase of the programme, was held at the Alimosho Local Government Secretariat.   

    It is part of the mandate of the Ministry of Wealth Creation and Employment to tackle youth unemployment and foster inclusive economic growth.

    The Commissioner for Wealth Creation and Employment, Hon. Akinyemi Bankole Ajigbotafe emphasized the urgency of addressing the opportunity gap and restoring hope to marginalised communities that have long been overlooked in mainstream development conversations.

    According to the Commissioner, the programme is strategically designed to equip young people in these communities with practical vocational skills, entrepreneurship development, digital literacy, and access to finance and mentorship.

    He said:  “We believe that true development must be inclusive. This initiative is not just about training; it is about transformation, empowering young people with the tools to thrive and become change agents within their communities.”

    He added that the programme is a core component of the Lagos State Government’s broader agenda for inclusive economic development and social transformation, aligning with Governor Babajide Olusola Sanwo-Olu’s commitment topeople-centred administration.

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    Permanent Secretary of the Ministry, Olayinka Adebayo Wasiu reaffirmed the present administration’s unwavering commitment to youth empowerment, job creation, and sustainable development.

    He noted that the initiative demonstrates the government’s resolve to extend meaningful opportunities to areas that are often underrepresented in economic advancement.

     “Our youths represent the heartbeat of our future, and we are intentional about investing in their potential,” Esv. Olayinka said. “Through this training programme, we aim to unlock new pathways to prosperity by equipping our young people with relevant skills and entrepreneurial mindsets that can lift them and their families out of poverty.”

    The Permanent Secretary reaffirmed that the Ministry is committed not only to training but also to building strong linkages between the trainees and market opportunities through business incubation support, mentorship frameworks, and funding access.

    He encouraged beneficiaries to take full advantage of the resources provided and become role models of resilience and innovation within their respective communities.

    In his goodwill message, Chairman of Alimosho Local Government, Akinpelu Johnson lauded the Ministry for bringing the pilot phase of the initiative to Alimosho, the largest local government area in Lagos.

    He stated that the programme is set to reach thousands of young people through free vocational training, startup support, business incubation services, and job placement opportunities.

    Hon. Akinpelu expressed his full support for the initiative and emphasized its significance to the economic and social fabric of Alimosho. He also pledged to replicate and expand the programme within the council in order to capture more beneficiaries across various communities.

    “We still have a large number of youths, men, and women in need of government intervention. This initiative is a welcome development, and we commend Hon. Ajigbotafe for his forward-thinking vision in fostering a more self-reliant society, regardless of gender, tribe, or religion,” he said.

  • NGA takes delivery of 1191 digitalised artworks in national collection

    NGA takes delivery of 1191 digitalised artworks in national collection

    Director General, National Gallery of Art, Mr. Ahmed Bashir Sodangi has assured that the training and retraining of National Gallery of Art staff remains a key component of ongoing development programmes to reposition the gallery and contemporary Nigerian art.

    He said that capacity development of staff is of top priority in every partnership the gallery entered into within Nigeria or outside the country, in the form of workshop or exhibition.  This, he said, will be a continuous thing

     “Every partnership we entered into in the form of workshop, or exhibition within or outside Nigeria, we always make sure and emphasise that our staff are carried along because that is the best way to transfer the knowledge, as learning never ends,” he added.

    Sodangi spoke at the handover ceremony of the digital inventory documentation of artworks in the National Collection last Friday at the National Gallery of Art, Aina Onabolu Building, National Theatre Complex, in Lagos.

    No fewer than 1,191 artworks made by living and dead masters were restored and digitalised after four months by a team comprised of experts from Goethe Institut, Lagos and NGA Lagos station.

    “Before the programme started, we had an in-house training session for about three days,” he said, adding that the entire process of restoring and digitising the works in national collection was done with active participation of NGA staff, adding that these trained staff will be going to Abuja to also train some of their colleagues.

    Sodangi described the national collections as priceless artworks that are held in trust on behalf of the federal government and domiciled with the National Gallery.  “So these are priceless treasures that I believe a particular generation has never seen before.

    “Why? Because we’ve been in storage.  We’ve been in storage for a very long time, and because we do not have a National Gallery in place where we can actually practise our actual mind.  So, that poses a challenge for us, and the question is, what do we do about it?  “Even if we now get a National Gallery today, can we bring out these artworks and exhibit them? Are we satisfied with the conditions that they are because these things have been in storage for decades?,” he added.

    This project, according to him, is the first step that will be followed by documentation of about 700 to 800 artworks in Abuja.

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    Citing one of the benefits of digitising artworks in national collection, Sodangi hinted that NGA has signed an MOU with Google Arts and Culture where they want to host the national collection.  “So, these are the very wonderful things that happened when you have very strategic collaboration and partnerships that make sense,” he added.  

    Director, Goethe Institut, Lagos Dr Nadine Siegert who commended the support and cooperation of NGA staff during the four months project, identified some benefits Nigeria can get from the restored collection, which include monetary evaluation, international collaboration, and international loan opportunity.

    “Hopefully the institutions that come for the loans will put some money into the restoration. So, it can be a chain of continued collaboration, which the Gallery can benefit from.

    “If institutions like MOWAA, private funders, public funders, and international organisations decide to further collaborate with the Gallery, they can now look at the condition reports and pick artworks that need to be restored. And it’s easy now to understand the condition and what needs to be done.

    “There is also the international loan opportunity because we see a lot of interest in African modernism and Nigerian modernism,” she said.

    Dr. Siegert disclosed that there will be a big show at the Tate Modern in London in October featuring one work from the National Gallery of Art produced by Ben Enwonwu in the late 70s.  The artwork, she said, was restored with the support of the Museum for West African Art (MOWAA).

    Project Coordinator, Mr Tobi Bolaji Idowu identified some gaps and opportunities in the collection, which Nigerian art historians and researchers can explore to complement the efforts made so far in the restoration and digitisation of the National Art Collection that has been in a poor state for decades. He noted that some of the works do not have title, name of artist and dissertation about the artist.

    Present at the ceremony include Director General, Centre for Black Arts and African Civilisation (CBAAC), Aisha Augie, Ndidi Dike, representatives of Julius Berger, Mr. Emmanuel Egbenuka and Vera Parmi and Ms. Udochukwu Okeahialam  of German Consulate, Lagos. 

  • Invest in Nigeria’s eco-tourism destinations, says Balogun

    Invest in Nigeria’s eco-tourism destinations, says Balogun

    General Manager Glocient Hospitality, Mr Sharafa Olanrewaju Balogun has charged Nigerians to rediscover and invest in the country’s emerging eco-tourism destinations led by models such as the revitalised Ikogosi Warm Springs Resort in Ekiti State. He made the call during a high-level panel at the BusinessDay Tourism Conference 2025, held in Lagos recently.

    Themed People, Culture, and Infrastructure: Building Inclusive Tourism Models for Nigeria’s Growth, the conference brought together tourism stakeholders, policy leaders, and hospitality experts to discuss new frontiers for domestic tourism.

    Balogun who spoke on Sustainable and Cultural Tourism: Preserving Heritage, Creating Wealth described Ikogosi as a living ecosystem of heritage, wellness, and local enterprise.

    “We are investing in a tourism future that is local, sustainable, and proudly Nigerian,” Balogun said, adding that ‘one where our natural heritage becomes a driver of prosperity not just for visitors, but for the people who call these places home.’

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    He noted that “through sustainable financial investment facilitated by our parent company, Cavista Holdings, Ikogosi is living up to its status as one of Nigeria’s most cherished tourist attractions, while empowering local communities through job creation, artisan engagement, and cultural immersion.”

    “Our goal is to position Ikogosi as a flagship for nature-based, wellness-oriented, and community-driven tourism in Africa, and our efforts have been validated by the number of local and international awards we have received. This is why we firmly believe that Nigerians should spend their holidays here and not abroad.”

    Nestled in the lush hills of Ekiti State, the Ikogosi Warm Springs Resort and Conference Center is home to the only confluence of warm and cold springs in the world, a geological rarity that has drawn interest for decades.

    Winner of Best Holiday Resort in Nigeria 2 years in a row, the resort- now under the management of Glocient Hospitality, a subsidiary of Cavista Holdings – has undergone significant upgrades to align with global sustainability standards. The conference served as a powerful platform for Glocient Hospitality to reinforce its commitment to transforming domestic tourism in Nigeria through strategic investments, partnerships, and policy advocacy.

  • LIMCAF’s Can we breathe stirs reactions

    LIMCAF’s Can we breathe stirs reactions

    Nigeria’s biggest visual art event, Life In My City Art Festival (LIMCAF), last weekend held its second round of the competition in 18 Regional Centers across the country. This year’s edition of the festival has as theme Can We Breathe?

    Last Friday, 62 young Nigerian artists exhibited their thought provoking artworks at the Lagos Regional Centre, Thought Pyramid Art Centre, Ikoyi, Lagos. Declaring the exhibition open, Mrs Jumoke Sanwo urged the participating artists not to be deterred by their locations instead think of how best to portray the best of such locations to the globe. She stressed that social media has afforded the creative space, not just for the artists, but as an opportunity to create wherever you are and showcase yourself to the entire world.

    Do not think about your location as a disadvantage, but think about ways whereby you can portray the best of your locality to the global world. I want to encourage you as well to explore material, what you find around you, to create music as a language to explore some deep issues that are confronting your reality on a day-to-day basis,” she added.

    In his remark, Executive Director of the Festival Mr. Kevin Ejiofor enjoined the participating artists to believe in their talents as artists and grow their skill in order to improve the value of their artworks. He recalled that unlike before art is lucrative and self-sustaining noting that beyond financial rewards, the festival also offers training opportunities for winners.

    “Life In My City Art Festival is about empowerment of young people.

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    There are two kinds of empowerment. Financially, what we can afford for those who win prizes. And then there is the training and exposure where the young people meet with established artists, scholars and teachers. Above all, we are growing young people who will be proud to say, I am an artist.

    “Now, that we are in 18 states every year, we are hoping that all around Nigeria, the love, the practise, the appreciation and the deployment of art as a tool of social development will grow. So, it is not only those who are building bridges and tall buildings that will be valued,” he said.  The mission of the festival is to position art for social development through youth empowerment, thereby promoting art as a resource for national development. It is also to establish LIMCAF as one of the top 3 high profile events in Africa within the international art events calendar.

    This year, over 700 entries were received for the national competition with the theme, “Can We Breathe”. The second round of the competition holds in 18 Regional Centers across the various regions of the country. With the Regional Centers, LIMCAF targets the grassroots to give every aspiring artist an opportunity. Over the years, notable Nigerian artists have been discovered through the exposure offered by the LIMCAF platforms. Also, this year, LIMCAF increased the prizes to be won by 25 promising young Nigerian artists. This is in addition to international travel for the top 6 artists and a booth-camp for selected artists.

    The winners from the Lagos centre that will participate in the grand finale in Enugu later in the year, will be announced today by the jurors.

  • Auchi alumni return in 1499 Art Force

    Auchi alumni return in 1499 Art Force

    No fewer than 14 accomplished contemporary Nigerian artists; painters and sculptors who are all alumni of the renowned Auchi Polytechnic, Auchi, Edo State, class of 1999 will converge on Thought Pyramid Art Centre, Norman Williams Street, Ikoyi Lagos on August 10 for their fourth group exhibition tagged 1499 Art Force. The group of alumni now known as Auchi Art Royale is returning with renewed purpose, vision, and under a new identity. Their artistic journey, marked by unity and unflinching commitment to excellence, began twelve years ago with their debut exhibition at the National Museum, Lagos.

    Members of Auchi Art Royal include Asuku Musa Momoh, Ashikodi Okwudili, Dudu Emmanuel, Oisereme Pius, Franklyn Enebeli, Joe Nsek, John Anabui, Kingsley Bramah, Klaranze Okhide, Igba Henry, Imhonigie Imoesi, Nosa Osadolor, Ola Balogu, and Titus Agbara.

    1499 Art Force will run till August 23 at Thought Pyramid Art Centre, Ikoyi, Lagos. 

    Founder and Artistic Director Thought Pyramid Art Centre, Olorogun Jeff Ajueshi said it is a true honour that Thought Pyramid Art Centre, Lagos has been selected as the first gallery to host this newly rebranded collective.  “We are particularly proud to host ‘1499 Art Force’ not only because each of the 14 exhibiting artists is a celebrated figure in today’s contemporary Nigerian art scene, but because of the values they embody—values we have also championed for the past 18 years: unity, creative brilliance, and cultural continuity,” he added.

    He explained that the title of the exhibition—1499 Art Force—ingeniously merges the group’s graduation year (1999) with the number of its members (14), symbolising both the strength of their bond and the collective creative force they wield. He observed that as viewers move through the exhibition, they will encounter not just masterful techniques and seasoned styles, but a palpable sense of class and timeless grace reminiscent of royalty—befitting for a group now aptly named Auchi Art Royale.

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    To him, the exhibition is more than a visual feast, but a celebration of heritage, a reaffirmation of the power of collaboration, and a bold declaration of what is possible when artists grow together and hold one another accountable to elite performance.

    According to him, being a gallery that has long committed itself to supporting visionary talents and nurturing platforms that foster collective growth, Thought Pyramid, find deep joy in presenting the exhibition. He hoped that the exhibition will inspire the next generation of artists—particularly undergraduates and recent graduates—to build lasting camaraderie, champion mutual progress, and reinforce the value of our academic institutions in nurturing artistic potential.

    The mission of the Auchi Art Royal is to contribute meaningfully to the Nigerian and global art landscape through annual exhibitions, workshops, and art events. “We are committed to promoting creativity, cultural heritage, and artistic innovation,” the group said. 

    The group debut exhibition was 2003, titled Kindred Spirit held at the National Museum, Lagos featuring Ola Balogun, Dudu Emmanuel, and Titus Agbara.  In 2007, it held the second exhibition Free Style at the Harmattan Gallery, Lagos which featured more members such as Titus Agbara, Dudu Emmanuel, Imhonigie Imoesi, Joe Nsek, Franklyn Enebeli, and Nosa Osadolor.

    Three years later, it organized another exhibition Intrinsic at the African Artists’ Foundation (AAF), Lagos, which marked a significant moment for the group as it also welcomed additional members to expand its creative reach. The artists exhibited included Asuku Musa Momoh, Dudu Emmanuel, Imhonigie Imoesi, Klaranze Okhide, Titus Agbara, Joe Nsek, Franklyn Enebeli and Ola Balogun. 

    Last year, it celebrated its 25th anniversary with a major group exhibition Constellation at Iwalewa Gallery, Lagos, and featured 14 members, officially marking the complete formation of the group.

  • Lessons from Scaling Content at a Global Creator Platform

    Lessons from Scaling Content at a Global Creator Platform

    • What Working with a Global Creator Platform Taught Me About Scalable Content Strategy
    • By Temitayo Michael

    The Nigerian creator economy is booming, yet most platforms still struggle to scale content that attracts, educates, and converts creators globally. 

    When I worked with Yoola, a global platform and multi-channel network helping creators monetize their content across YouTube and beyond, in her foray into Nigeria, I had the opportunity to see this challenge up close and help solve it.

    In this article, I’ll share four key lessons I learned about building a content strategy that not only resonates across markets but also supports real growth and trust in the long term.

    1. Speak the Creator’s Language, Not the Platform’s

    Many companies default to product-focused content. 

    They discuss their cool, new features, including dashboards and tools. 

    But, creators don’t care about your product; they care about how you can contribute to their goals: monetization, reach, and brand growth.

    When we refined Yoola’s content to centre on the creator’s journey, the results shifted dramatically. 

    Rather than “Here’s how our dashboard works,” we focused on:

    • Case studies of creators scaling income through YouTube
    • Tips for staying compliant with YouTube’s monetisation policies
    • Playbooks for managing burnout as a full-time content creator

    This not only improved engagement but also established Yoola as an advocate in the global creator economy, not just a platform.

    2. Localisation Matters More Than You Think

    Yoola operates across multiple countries, including Nigeria, Vietnam, Brazil, Turkey, and the US.

    We quickly learned that one-size-fits-all content doesn’t work in a global company addressing the creator economy.

    A creator in Lagos, Nigeria may care about naira conversion rates, Crypto currency payment options, and YouTube Shorts discoverability. 

    And, a creator in São Paulo might be more concerned with copyright issues or content virality.

    We began customizing content by market:

    • Country & Language-specific how-to content, landing pages and blog posts
    • Localized testimonials and success stories
    • Different email nurture sequences based on region

    The effort paid off: bounce rates decreased, and content ROI became easier to track geographically.

    3. Content Is Also About Conversations: The Creator Summit Strategy

    One of the most effective campaigns I worked on with Yoola was the Yoola Creator Summit in Nigeria. 

    Through a combination of targeted email sequences, social media engagement, and influencer outreach, we brought together over 100 creators from across the country.

    This wasn’t just a marketing win; it was a content research breakthrough.

    At the summit, we:

    • Held workshops and live panels with creators
    • Learned first-hand what they needed help with (e.g. payment tools, copyright strikes, Shorts growth)
    • Collected stories, testimonials, and content ideas directly from the community

    These conversations gave us insights that would have taken months to surface through surveys or analytics. 

    We turned those learning into new social content, email nurture flows, and support documentation tailored to Nigerian creators.

    4. Consistency Beats Virality

    Lastly, I learnt that consistency is more vital than going viral. We all want that one post to blow up. But what I learned working with Yoola is that consistent storytelling outperforms one-hit wonders.

    We built a content calendar with regular pillars:

    • Creator education content
    • Monetization updates & policies
    • Creator spotlight, and sometimes,
    • Platform/Service feature announcements

    Rather than chasing the algorithm, we built trust over time. Yoola’s search visibility improved, open rates increased, and creators came back regularly to learn, not just click.

    Final Thoughts

    The work I did with Yoola cemented a core belief I hold as a content marketer: great content doesn’t just convert, it creates community.

    When platforms invest in empathetic, localized, and consistent content, they do more than attract creators. 

    They become trusted partners in a creator’s journey.

    If you’re building a platform, whether in the creator economy, SaaS, or no-code space, the same rules apply.

    Lead with empathy. Scale with strategy.

    Temitayo Michael is a content strategist and marketer who helps digital platforms like Yoola, and service brands—including no-code agencies and SaaS startups—scale through high-impact content systems and campaigns.

  • Chinwendu Chidi brings powerful faith reflections to Umuofia arts and books festival

    Chinwendu Chidi brings powerful faith reflections to Umuofia arts and books festival

    The Umuofia Arts and Books Festival 2025 welcomed a diverse lineup of authors and creatives to its annual cultural celebration, but few sessions resonated as deeply as the moving book chat with Chiwendu Emmanuella Chidi, Christian writer, speaker, and author of The Lover’s Creed.

    Her powerful voice and spiritual insight captured the hearts of festival attendees as she spoke on the intersection of faith, love, and real-life struggle.

    Chidi, known for her deeply rooted Christian worldview and unflinching honesty, offered an intimate and thought-provoking session centered on her book The Lover’s Creed. Far from a conventional Christian read, The Lover’s Creed presents a raw, unfiltered look at faith in the real world challenging readers to go beyond surface-level spirituality and confront the deeper call of God’s love and standards.

    “To write a Christian book isn’t just to tell a story, it’s a statement that I know God, and I walk with Him,” Chidi stated to an audience visibly moved by her conviction.

    Chinwendu Chidi

    In a world increasingly shaped by secular ideals, Chidi stressed the enduring relevance of Scripture. “The Bible must not be reduced to a spiritual reference,” she said. “It should be the very standard by which we live. God never promised life would be easy, but He promised to hold our hands even in the fire.”

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    Her appearance formed one of the spiritual highlights of this year’s festival, which had the theme “Reflections.” Through her candid storytelling and rich theological grounding, Chidi exemplified the type of cultural engagement that UmuofiaFest champions, bold, introspective, and rooted in identity and truth.

    Festival curator Edna Chinaza commended Chidi’s contribution: “Chinwendu’s book is not just a literary work; it’s a spiritual experience. She reminded us that Christian writing isn’t about soft encouragement, it’s about truth that transforms.”

    The Lover’s Creed has been described as a courageous work that dares to speak honestly about the Christian journey one marked not by perfection but by perseverance, surrender, and purpose.

    As the Umuofia Arts and Books Festival continues to grow in influence across Nigeria’s cultural calendar, voices like Chidi’s are proving essential, bridging faith, literature, and personal healing in ways that speak powerfully to today’s generation.

    Chinwendu Emmanuella Chidi is a passionate Christian writer and speaker. Her work flows from a deep relationship with God and a calling to inspire authentic, truth-filled living. Her message is one of hope, healing, and unwavering purpose in an ever-changing world.

  • Ghana’s Minister of Creative Arts inaugurates PAWA

    Ghana’s Minister of Creative Arts inaugurates PAWA

    Ghana’s Minister for Tourism, Culture and Creative Arts, Hon Abla Dzifa Gomashie has assured the Pan African Writers Association (PAWA) of her Ministry’s continued support and collaboration.

    Hon Gomashie made the remarks while swearing in the new PAWA Council on July 25 2025.

    In her speech which was read on her behalf by an official of the Ministry, Mr Andy William Amoo, the Minister observed that PAWA’s job of ”preserving African voices, telling our stories and uniting the continent through writing is not only commendable but essential”

    In view of this, the Minister who is also a PAWA member encouraged the association “to deepen collaboration with governments, academia and cultural institutions to promote literacy, emerging writers and celebrate the diversity of African languages and narratives”.

    Also speaking at the event, the Copyright Development Senior Coordinator at the World Intellectual Property Organization ( WIPO) in Geneva, Ms Sherine Greiss who was the Guest Speaker, congratulated PAWA for organizing a successful Council elections, an important step for Pan African literary empowerment.

    According to Sherine: ” at WIPO, we are committed to supporting Africa’s creative industries. That was why we partnered PAWA to organize a virtual workshop on empowering young african authors in 2023″.

    Prof Bill Ndi, a Cameroonian Poet and Professor of Humanities at the Tuskegee University in the US who is the new PAWA President in his acceptance speech on behalf of the new Council promised to serve PAWA with humility and an abiding sense of duty.

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    Other speakers at the event included the Secretary General of the UK based, International Authors Forum (IAF), Kevin Fitzgerald, the Legal Policy counsellor at the Belgium based International Federation of Reproductive Rights ( IFFRO), Antonios Baris, as well as the Chairman of the Ghana Publishers Association (GPA), Asare Yamoah.

    Other guests were the well acclaimed Poet and Literary Scholar, Prof Niyi Osundare, Prof Odame from the African Continental University, Ghana and the acting Pro VC of the Accra, Ghana based African University of Communications and Business, Dr Kemi Wale-Olaitan.

    The new PAWA Council  which will be in office for the next three years is made up of: Professor Bill Ndi ( President), Ms Reyna Lineres Jones ( VP Diaspora), Mr Ashraf Aboul Yazid ( VP North Africa), Mr Carlos Paradona ( VP Southern Africa), Prof Egara Kabaji ( VP East Africa), Prof Cherno Omar Barry ( VP West Africa), Mr Eric Joel Bekale (VP Central Africa) and the Secretary General, Dr Wale Okediran.

    The event was also witnessed by PAWA members made up of the 54 National Writers Associations on the African continent and in the diaspora.