The Nation Newspaper

Category: Arts & Life

  • Nigerian students’ literature prize debuts

    Nigerian students’ literature prize debuts

    In a bold and commendable move aimed at promoting literary excellence among young Nigerians, Adwinsa Publications Nigeria Limited has officially launched the Nigerian Students’ Literature Prize (NSLP).

    The literary award initiative is targeted at discovering and celebrating fresh creative writing talents from primary, secondary, and tertiary institutions across Nigeria.

    This announcement was made in a press statement jointly signed by Kwaku Oppong Amponsah, Director of the Company, and Wole Adedoyin, Nigerian Coordinator of Adwinsa Publications.

    According to the statement, the Nigerian Students’ Literature Prize will provide a robust platform for nurturing and showcasing the literary abilities of students through competitions in poetry, short stories, and essays. The prize is expected to play a key role in revitalizing reading and writing culture among young Nigerians at all levels of education.

    Adwinsa Publications Nigeria Limited, a duly registered publishing firm with the Corporate Affairs Commission (Registration Number: 667617), and known for its strong legacy in educational development, emphasized that the prize aligns with the company’s long-standing mission to inspire creativity and critical thinking in young minds. The Nigerian Students’ Literature Prize marks the second major initiative of the publishing house, following the successful implementation of its flagship project, the Read Nigeria Project.

    Speaking on the importance of the prize, Wole Adedoyin said the initiative is a deliberate effort to encourage young Nigerian writers to find their voices early. “We are passionate about building a strong literary future for Nigeria. This prize is our contribution to national development through the power of literature,” he said.

    Kwaku Oppong Amponsah called on government institutions, private organizations, publishing stakeholders, NGOs, and philanthropists to support and partner with Adwinsa Publications to expand the reach and impact of the prize. “This is not just about an award; it is about empowering the future generation of Nigerian writers and thinkers. We welcome sponsorship, technical partnerships, and collaborations that can elevate this vision,” he noted.

    Entries for the Nigerian Students’ Literature Prize will be open to students enrolled in accredited Nigerian schools, colleges, and universities. Participants will be grouped into three categories based on their academic level, and each category will feature a tailored set of literary challenges and rewards. The competition will also include workshops, mentorship sessions, and nationwide readings.

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    Adwinsa Publications Nigeria Limited also announced plans to publish a biennial anthology featuring the best entries from the competition. This publication, the statement noted, will serve as both a reward and an exposure opportunity for budding authors, while also contributing to the body of student literature in the country.

    The organizers further disclosed that a dedicated blog and social media channels for the NSLP would be launched in the coming weeks to provide updates, entry guidelines, and resources for participants and partners. Regional coordinators are also being appointed to ensure inclusivity and wide participation across the six geopolitical zones.

    Adwinsa Publications Nigeria Limited reaffirmed its commitment to promoting literacy, intellectual development, and literary excellence among Nigerian youth. With the unveiling of the Nigerian Students’ Literature Prize, the publishing house sets a new milestone in its educational outreach, and calls on all stakeholders to rally around the initiative for its sustainability and success.

  • Shortlist for African Human Rights music unveiled

    Shortlist for African Human Rights music unveiled

    • By Wole Adedoyin

    The African Secretariat of the International Human Rights Art Movement (IHRAM) has officially unveiled the shortlist for its much-anticipated African Human Rights Music Competition. This was made known in a statement issued by Wole Adedoyin, the Coordinator of the Competition. The shortlisted entries were carefully selected from the previously announced longlist of 17 participants.

    The shortlisted eight finalists include: Alao Felix Oluwadamilare with Free World (Felicity); Aniah Emmanuel Bepeh with BTC; Avril with Africa Our Home; Dead to Rights by Uche Chidozie Okorie; Delphina Yeboah with Sit Down, Shut Up and Procreate; Itunu Oyewale with Break the Chains; Ogedengbe Eghosasere with Our Voice; and Ummalkhairi Buhari with We Will Fight. These talented artists were recognized for their exceptional contributions in using music to amplify human rights messages.

    According to the organizers, the eight shortlisted entries have been uploaded on YouTube for public engagement and voting. Music lovers, human rights activists, and members of the public are encouraged to listen, engage, and vote for their favorite tracks via the YouTube playlist link provided

    Voting is open for two weeks only, during which participants are required to listen to all eight powerful tracks and comment under their favorite song either on YouTube or through the competition’s official channels. This unique approach aims to foster community engagement and ensure that the winners are determined by popular choice.

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    Wole Adedoyin highlighted that these songs collectively address critical themes of freedom, dignity, equality, and justice, aligning perfectly with IHRAM’s mission of leveraging art for social change. “Music has always been a tool for activism, and this competition has proven how artists across Africa are ready to raise their voices against oppression through their craft,” Adedoyin stated.

    The African Human Rights Music Competition was designed to harness the talents of musicians, vocalists, and songwriters across Africa and beyond. Its goal is to encourage the use of music as a dynamic platform for advocating human rights, raising awareness of pressing social issues, and inspiring change through creativity.

    The competition received submissions from across Africa, Europe, Asia, and Oceania, further reinforcing the universality of music and human rights. IHRAM is proud of the diverse participation and the quality of entries received, each reflecting unique cultural perspectives on human rights struggles and hopes.

    As the competition progresses to its final stage, IHRAM calls on the global community to actively participate in voting and help spotlight the top three voices who have used their music as a force for good. The winners will not only receive recognition but will also contribute to shaping conversations around human rights through continued collaboration with IHRAM.

    The African Human Rights Music Competition stressed IHRAM’s broader commitment to integrating arts into human rights advocacy and offering platforms where artists can challenge injustices and inspire meaningful conversations through their work.

  • Mr. Danfo and art of road signalization

    Mr. Danfo and art of road signalization

    He has assumed the name Mr. Danfo. He loves the colour yellow, the traditional colour of Lagos public transportation. His works on road safety, on road signs and signalization, all bear the colours of yellow. He has been to different parts of the world for the purpose of sensitizing on the ingredients of road signs. Recently he exhibited with LASTMA on their 25th anniversary. He exhibited at Angels and Muse, Lagos, tagged gods of safety. He shares his encounters here with EDOZIE UDEZE.

    Seidougha Linus Eyimiegha popularly known as Mr. Danfo is always an interesting artist. He has chosen to tow a different path as a visual artist. His primary concern is to continuously design and make popular highway codes, road signs, traffic signals and designs just to help the public understand, appreciate and apply these designs to discourage road accidents and mishaps. He has been to Geneva and other important cities of the world for this crusade. Recently he was at the popular Angels and Muse gallery, Lagos, for a solo exhibition with updated versions of the signals where dignitaries and stakeholders from different parts joined him to ensure that his voice and works sounded louder than ever, spreading the necessary message.

    Mr. Danfo is ever eager to pursue his goal. He has other art designs in the offing and he is also willing to do more in collaboration with both the Road Safety and LASTMA in Lagos State.

    “Yes, I exhibited gods of safety at Angels and Muse recently. The gods of safety was one of the works I started developing in Geneva, Switzerland last year. I was in Geneva for a programme and there the idea came. So it was like an expansion of the same concept that took me to Geneva. It was like a follow up on that project which I started. So it is an updated version, which I really stretched further to produce gods of safety. They are all on road signs for pedestrians and motorists.

    The whole thing started from one single document which was Vienna 1968 convention. It is on road safety and signalization and I took my time to study it all. It is on UN road safety and signalization convention 1968. There was Article 8 of the convention which states that signatory countries should localize the idea of the essential elements of these road signs. And that they should ensure that these signs are not tampered with. So that is evident in Geneva where they have clearly marked the yellow road safety signs and so on. Also the green man signs and the pedestrian signs are also found all over there. There are also some for senior citizens and elderly persons.

    They are all in vogue over there and totally in view and people are meant to obey, comply and apply the signs for the safety of all road users. Even pregnant women, senior citizens with walking sticks all have their freedom as road users in that document. I think Zurich is also trying to do lesbian couple kind of signs as well. This is to equally incorporate in them and make the signs stick

    But here we also agreed to apply signalization and then how do we apply them to suit our local needs? These have to do with our local needs and application. How do we do that? That also is part of my concerns, part of what I have set out to do as an artist and illustrator. That is why I started using traditional figures and applying the signs in them. It is easier therefore for our people to identify with these appliances and it is equally useful in order to make the message clearer for all concerned.

    In that sense we have to see signalization from multiple dimensions. Then the signs are clear from the traditional figurines, the sculptures, the carving on woods, crafts and so on. Even depictions are localized as well. Some are like advice, some like warnings. And at other times, they are like adverts or caution. Some are like the reflections of some of the places I have been to in the process of this sort of art and awareness. We can say even in Lome, because I was there as well, these signs apply. Like I would have said stop your gragra and you see 419 avenue. Some people have complied. In other to teach Nigerians these signs we have to put them on the road. Because the way we live here, we need to be on the road to know these things. Here in Nigeria these signs are not taught in schools or even included in curriculum where we can begin on time to be aware of them and what they set out to achieve.

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    We learn signs by seeing them in the environment. It seems that it is only those who drive that are exposed to such signs but this is not sound enough. I have read the Nigerian road code. Yes but the Nigerian general public, how many people know or are even aware of those signs?. Often people just drive unaware of some of these signs. And these pose danger to the people, to pedestrians and even to other road users. We have to be aware and that is why this localization of the signalization has become necessary and timely. The drivers behavior plays a huge role about how people react. This is how zebra or pedestrian crossing signs are not even respected. Some people do not even know what they mean or that they even exist.

    What I do therefore is like a crusade through the art. My art makes the signs clearer and better understood, thereby creating consciousness in the minds of people. The first thing therefore is that the signs have to be on the roads, properly placed and sufficient enough to help road users navigate well. Now my concern is not whether people obey them or not. Let us just have them first, strategically placed where they ought to be. It is then that we can begin to talk about obedience, compliance and so on. If we have all these with us with time we begin to get used to them. See how little children learn about phones and other gadgets. It is because they are available and no one teaches them and yet they get to understand them with time. Same can apply to these road signs when made available in our environment.

    In a long space of time the signs will become part of us. We know LASTMA and Road Safety are doing some kind of education. Yet it is not enough. We have to step up the campaign and enlightenment. We are also doing some campaign with the younger ones. And with my works out there, properly marked to spell out these signs I feel we are on the right track. At Angels and Muse, what I did was like the prototypes, with some 80 pieces of them. The works are iconic, well spelt out to define road signs via traditional figures. They were made to apply in larger scales if they are meant to be on the roads. But they are exhibition pieces are just small symbols. In any case, Angels and Muse is a non governmental centre. It supports projects meant to assist artists for the good of all. In fact they assist the creatives and generally encourage the art. They were the major sponsors of the show. However I invested my money in creating the works. It took me a  long time. It sapped me too. But in the end the works came out beautifully well. I had already put in some money in the process of the exhibition.

    Generally I will give Angels and Muse the credit for sponsoring it because offering their space was a huge source of encouragement and succor to the whole show. They took care of all publicity. They took care of all members of the team that took part in the exhibition. They equally made sure that logistics were sound and good” he said, beaming with satisfaction.

    Mr. Danfo, so-called because his works often wear the traditional and symbolic yellow colour of Lagos transportation. He loves adorning his art works with yellow colour as a major background. For this therefore he is safely tagged Mr. Danfo. For a long time the name has come to stick like a stigma and he loves it. His art is otherwise known as art of yellow colours. Most of his road traffic signs wear toga of yellow.

    Since this year, he has done two successful solo art exhibitions. And then you begin to wonder how he does it in addition to his other busy schedules. Now located in Surulere, Lagos, his studio is a beehive of activities where traffic signs come and anchor. From time to time he create ideas that continually enhance the face of traffic signs in Nigeria. This has made him a darling of Road Safety and other traffic agencies of Government in and around Lagos. Give it to him he is restless and in tune with the latest traffic rules and signs as they emerge from the United Nations or from Geneva in Switzerland. This is a mantle he has chosen to shoulder for the sake of humanity.

    “Yes I do not work on single piece. I work on projects. It is like series. Each work I do I do not like them broken apart. And I like them shown together in a single public exhibition. That is where the total beauty lies. On the 25th anniversary of LASTMA, I also exhibited with them. It was so good, so encouraging, it shows how the institutions managing traffic have come to recognize the work I pam doing. And we need to work together from time to time”

  • Adedeji’s ‘Measured dust’ launched in Lagos 

    Adedeji’s ‘Measured dust’ launched in Lagos 

    Stakeholders in Nigeria’s business and entrepreneurship ecosystem have lauded management consultant and project strategist, Precious Olaoluwa Adedeji, for his bold intervention in Africa’s entrepreneurial landscape with the launch of his debut book, Measured Dust.

    The event, which held on Sunday, July 27, 2025, at the upscale EbonyLife Place in Victoria Island, Lagos, attracted high-profile figures across enterprise, development, and policy circles.

    Measured Dust takes a practical and storytelling-driven approach to addressing structural gaps in business models, with a focus on helping entrepreneurs build sustainable and data-informed enterprises in uncertain environments.

    Among dignitaries present at the event were President of the Healthcare Federation of Nigeria and Country Director of PharmAccess, Mrs. Njide Ndili; Director of the Enterprise Development Centre, Pan-Atlantic University, Dr. Nneka Okekearu; Co-founder, Zibar Resorts, Dr. Femi Olumide; Business Executive and Strategic Advisor, Mr. Edward Esene; and Founder/CEO of AAJ Logistics, Amb. Adekunle Adeyemo.

    In their remarks, the dignitaries described Measured Dust as a timely and transformative guide for aspiring and seasoned entrepreneurs navigating the realities of doing business in Africa.

    “What Precious has done with Measured Dust is give voice to the invisible structures that break businesses before they scale. It’s a much-needed resource,” said Mrs. Ndili.

    Dr. Okekearu described the book as a vital contribution to business development, saying: “This book is timely. It guides entrepreneurs to think with both vision and structure, something our ecosystem needs more of.”

    Mr. Esene described it as “a guidebook for entrepreneurs building in high-stakes environments,” while Amb. Adeyemo called it “a clear map for navigating the complex terrain of African business.”

    Speaking at the event, Adedeji said his motivation stemmed from witnessing startups fail not due to lack of vision, but flawed models.

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    “Too many businesses fail not because the ideas were wrong, but because the models behind them were broken,” he said. “Measured Dust is my way of helping small and medium entrepreneurs build with intention, structure, and foresight.”

    The audience, which included business consultants, startup founders, and policy influencers, engaged actively with the book’s themes, praising its practical insight and relevance.

    Adedeji, a Lagos-based management consultant, has trained over 5,000 entrepreneurs through platforms such as Google’s Digital Skills for Africa and Facebook’s Grow Your Business initiative, and has supported startups in raising over $10 million in funding.

    He holds a Master’s degree in Data Science Management from Rome Business School and a Bachelor’s degree in Pure Mathematics from the Federal University of Agriculture, Abeokuta (FUNAAB). A certified Business Development Service Provider (BDSP) under SMEDAN, Adedeji has worked on USAID-backed consulting projects and mentorship programmes at Pan-Atlantic University.

    His work aligns with global goals, including SDG 1 (No Poverty), SDG 4 (Quality Education), SDG 5 (Gender Equality), SDG 8 (Decent Work and Economic Growth), and SDG 9 (Industry, Innovation and Infrastructure).

  • Olukorede S. Yishau’s After the end explores complexity, depth of human experience

    Olukorede S. Yishau’s After the end explores complexity, depth of human experience

    • By Joy Eseosa Matthew

    The child stands at the centre of the market square and stretches forth a finger to the actions of men and the pointlessness of human toil. Rising before that finger is a protruding shadow, that of the child, pointing back to prophesy: “You, too, will toil and labour. It is the inescapable human curse.” Every person, then, lives with a two-edged tragedy: our own share of life’s troubles, meted out to each of us at birth, and the tragic probability of experiencing the disasters suffered by those who were here before us.

    This latter realisation, that over our heads looms the potential doom of repeating the mistakes of the past, which we tend to condemn without empathy or careful inner reflection, dawns on Olukorede S. Yishau’s characters in his 2024 novel, After The End.

    The story revolves on the marriage of Idera and Demola, a Nigerian immigrant couple living in the United Kingdom with their three children. When we meet this family, Demola is dead, and Idera, in the grip of grief’s vice-like hold, is visited by his previously unknown first wife Lydia and her son. This visit shatters the foundation of everything she believes and plunges her into the worst kind of disillusionment: one in which the illusion was the only reality ever known.

    The widowed Idera navigates raising three growing boys in a politically unstable society rife with racial discrimination, economic uncertainty, and social decay, while nursing a grief worsened by the deep sting of her late husband’s betrayal. The story, though clichéd — woman loses husband, becomes a single mother, suffers greatly, meets an old lover, remarries, and finds a well-deserved happy ending — triumphs as a sociological novel because of the author’s careful attention to the complexity and fragility of lived human experience(s). A complexity that seems simple to the outsider; one that might even prompt an observer to exclaim, “Oh, fool, just make a sound judgement and escape this mess!” Yet, to the experiencer, this complexity is made more complicated by unaddressed trauma and a judgement clouded with fragments of fear, guilt, lust, and more.  

    Because the dead cannot speak, Demola’s perspective is chronicled by an external, limited, omniscient narrator, a technique that provides insight into his childhood and the circumstances of his upbringing (all factors that shape his mindset, actions, and decisions). This approach also offers a degree of objectivity, because it places the reins of judgement in the hands of readers and gives a panoramic view of Demola’s apparent and psychological realities, enabling us to question the concept of fate versus decision-driven consequences.  

     Are we truly doomed to repeat the mistakes we once condemned, or does it ultimately hinge on the choices we make at life’s maze-like crossroads? This question, coupled with the dramatic presentation of significant events in Demola’s life, told through a non-linear narrative structure, and interwoven with the stories of other characters before and during his marriages to Lydia and Idera, forms some of the fundamental ingredients that make the novel a page-turner.   

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    It may seem repetitive to note that this novel is rich with material for psychoanalytical criticism. For although it is fast-paced, with a realism and simplicity of language reminiscent of a kitchen-sink play, it is also laden with the emotional weight and intensity that arise from the deeply multilayered nature of the mind as a force that propels or nudges a person into unforeseen circumstances.  

    On page 201, Idera confesses to her first love, “I’ve been married before, Justus. The first time, I was so relieved to be asked, I just made a lot of assumptions about why he was proposing to me…” a statement that reveals years of deeply ingrained, initially subconscious feelings of worthlessness stemming from being born out of wedlock, abandoned by her father, and later becoming pregnant in similar circumstances. Demola, however, is not fortunate enough to have the opportunity for mental reawakening, and lives all his life with the repressed fear of becoming like his father. Tragically, he repeats the mistakes of his father’s life, including the very betrayal he sought to avoid, and dies bewildered and burdened with the emotional demands of a deceit-ridden polygamy.

    The socio-cultural context of this novel greatly influences the experiences of its characters. Issues like the effects of Babangida’s Structural Adjustment Programme in the 1980s; the brutality of Sani Abacha’s regime; the worrying reality of human capital flight in Nigeria, known as Japa; the decay of humanity and disintegration of families in contemporary English metropolises, provide a vital backdrop to the novel’s setting of place and time, and cements its place within the corpus of contemporary Nigerian fiction that mirrors the intricacies of the modern Nigerian experience.

    Overall, the story’s movement is toned by an intense interplay of trauma and resilience, setting an expectation for a resolution that respects the gradual, introspective journey to recovery, particularly for Idera. However, its conclusion is somewhat unexpected, because it shifts focus to a romantic reunion between Idera and Justus, as though romance is the pinnacle of her healing. This shift, however moving and exciting, oversimplifies her painstaking path to healing, and closes the narrative on a note less introspective than the story’s earlier depth. In addition, readers should consider the vivid descriptions of sexual activities, which may be unsuitable for those under 18, despite the significance of the issues the work addresses for both teens and adults.

    In conclusion, Olukorede S. Yishau’s After The End excels as an artistic venture crafted with careful attention to the layered texture of the human experience. In its exploration of pain and healing, readers are invited to empathise with the characters’ struggles and growth. This novel stands as a triumph of art’s role in observing, commenting on, understanding, and interpreting the human condition.    

    Joy Eseosa Matthew,  a  student of (English Arts) at the English Language department of the University of Lagos, is joint winner of the prize for the review of After The End at Reading Cafe’s 10th anniversary celebration.  

  • Organisers postpone festival, annual awards dinner nights 2025 in Ghana 

    Organisers postpone festival, annual awards dinner nights 2025 in Ghana 

    The organisers of the much-anticipated 2025 Igbo Day, New Yam Festival, and 13th Ndigbo Diaspora Economic Development Conference and Awards Dinner in Ghana have announced the postponement of this year’s event, originally scheduled for September 21 at Efua Sutherland Park, Accra.

    The announcement was made through an official statement released by the Igbo Day / Yam Festival Committee, led by Chief Elder Bright Chiawalam, who serves as the committee chairman.

    According to the statement, the decision to postpone the high-profile cultural event was reached after “careful deliberation and consultation, ”with the aim of ensuring that the festival and award dinner night is held in an environment that truly reflects the excellence, dignity, and unity of the Igbo people.

    “This decision was not made lightly,” the statement read. “We understand the deep cultural and emotional significance of this annual celebration to Ndi Igbo and our friends across Ghana and beyond.”

    The Igbo New Yam Festival, also known as Iri Ji or Iriji Ohuru, is a time-honoured tradition celebrated across Igbo communities to mark the beginning of the harvest season.

    In Ghana, the festival draws thousands of attendees, including members of the Igbo diaspora, local chiefs, dignitaries, and cultural enthusiasts.

    Organisers have promised that a new date for the event will be communicated in due course. In the meantime, they are calling for patience and continued support from the public as preparations continue behind the scenes.

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    “We are committed to delivering a bigger, better, and even more impactful celebration of Igbo heritage,” the committee assured.

    As the Igbo community and cultural enthusiasts await the rescheduled date, the postponement has been met with a mix of understanding and anticipation, with many expressing hopes for an even more memorable event once it returns.

    The statement also informs the general public that the 13th and Igbo Diaspora Economic Development Conference lecture, Annual awards/Dinner Night, with the topic,

    The Impact of Diaspora Ndigbo in the Nigerian economic  Growth to be delivered by Hon Osita Chidoka OFR NPOM, former Minister of Aviation and Aerospace development of Nigeria, and  Senator Anyim Pius Anyim  GCON, former Secretary General of the Federation (SGF), has equally been postponed as a new date will also be announced in due time, the statement states.

  • “Black Figuration Is Alive and Well’ takes centre stage at O’DA Art Gallery

    “Black Figuration Is Alive and Well’ takes centre stage at O’DA Art Gallery

    Taking centre stage and reasserting the presence, complexity and creative sovereignty of Black identity in contemporary visual art, contemporary art gallery, O’DA Art Gallery, is proud to present a powerful group exhibition, titled, Black Figuration Is Alive and Well.

    The exhibition, which is currently holding at the gallery in Victoria Island, Lagos, kicked off on Sunday, July 13, 2025 will conclude next weekend, August 9, 2025.

    In a global climate that questions the relevance of Black portraiture, this show is offering a firm and vibrant response: our faces, our stories, and our visions matter, now more than ever.

    Featured artists include Reuben Ugbine and Djakou Kassi Nathalie: reinvigorating African sculpture with references to spirituality, heritage, and surreal form.

    Mobolaji Ogunrosoye, Orry Studio and Lakin Ogunbanwo: deconstructing photography and collage to explore memory, beauty, and layered identity.

    Anthony Nsofor, Isaac Emokpae and Joseph Ogbeide: using linework and abstraction to examine family, ancestry and cultural preservation.

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    Soji Adesina, Chika Idu and Olajide Ajayi (LA Draws): diving into Afro-surrealism to interrogate dreams, technology and diasporic memory.

    Taiye Idahor and Stephen Price: offering emotionally textured works that reflect on freedom, femininity and inherited memory.

    Simon Ojeaga’s rhythmic “fractellations” evoke the meditative, emotional quality of Yinka Bernie’s soulful soundscapes.

    Opeyemi Olukotun presents poignant realist portraits that honour everyday Black life with dignity and empathy.

    Together, these artists demonstrate that Black figuration is not static or reductive, it is expansive, experimental and urgent. Far from fading, it continues to evolve as a vital force of cultural commentary and self-affirmation.

    Gallery Director and curator of this exhibition, Obida Obioha, said, “The ongoing prominence of figuration in Black and African art stands not as aesthetic repetition, but as an urgent political and cultural gesture, a reclaiming of presence, history, and imaginative sovereignty.”

  • Trino Motion Pictures unveils ‘Grandpa Must Obey’

    Trino Motion Pictures unveils ‘Grandpa Must Obey’

    Trino Motion Pictures has released its feature film, Grandpa Must Obey, which marks the beginning of the film’s promotional campaign ahead of its scheduled theatrical release.

    ‘Grandpa Must Obey’ tells the touching and humorous story of a grumpy old grandpa who is forced to babysit his mischievous grandchild. As a chaotic family drama that explores the power of unexpected companionship, rediscovery, and intergenerational bonds that bring laughter and warmth to everyday life.

    The newly released title art reflects the film’s uplifting and inviting tone, setting the stage for a campaign designed to connect with audiences through engaging storytelling and heartfelt themes.

    “We are thrilled to share the first visual for Grandpa Must Obey as we embark on this journey toward the film’s release,” said Uche Okocha, the MD of Trino Motion Pictures. “This title art beautifully captures the spirit of the film, and we look forward to bringing audiences along for an exciting and memorable cinematic experience.”

    Fans can anticipate further updates, including trailers, cast announcements, and premiere details.

    Trino Motion Pictures is an innovative production company dedicated to creating compelling and culturally resonant cinematic experiences. Its commitment is to produce films that entertain, inspire, and connect audiences both locally and globally

  • AXA Mansard CFO Ngozi Ola-Israel bags CFO of the year award

    AXA Mansard CFO Ngozi Ola-Israel bags CFO of the year award

    AXA Mansard’s Chief Financial Officer, Ngozi Ola-Israel, has been named CFO of the Year by the Women Tabloid Awards.

    The Women Tabloid Awards celebrate trailblazing women who are redefining success and challenging stereotypes across industries and geographies.

    According to Rashidat Adebisi, Chief Client Officer, AXA Mansard Insurance Plc, the recognition of Ngozi is another testament to the remarkable role she and her team continue to play in the company’s success, despite the challenges of the dynamic operating environment.

    “On behalf of the board and management, I congratulate our dear CFO.

    This is a well-deserved recognition. Under her leadership, we have achieved sustained financial growth, strengthened our market positioning, and enhanced corporate governance. Her visionary leadership was instrumental in the successful implementation of IFRS 17, reinforcing our commitment to transparency and global best practices,” Adebisi added.

    Reacting to the award, Ola-Israel expressed her gratitude to Women Tabloid for the honour.

    She praised the organisers for going above and beyond to spotlight the incredible work and impact of women across sectors.

    “My emergence as the 2025 CFO of the Year is further proof of AXA’s commitment to inclusive protection and to creating an environment where people are empowered to care and dare,” she said.

    “I am incredibly grateful for the people I work with. Their collaboration and dedication have shaped this journey, culminating in this award. Recognition like this only happens when you’re surrounded by people who challenge you to be your best and support you through it all.

    This honour will fuel my resolve to continue giving my best, mentoring others, and creating opportunities that elevate women, the finance profession, and impactful leadership”.

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    With over a decade of dedicated service at AXA Mansard, Ngozi Ola-Israel began her journey as Group Head of Financial Control and rose to the position of CFO in 2017.

    Under her leadership, the company surpassed its 2024 revenue targets by 32 percent and recorded a nearly 50 percent increase in share price.

    She also served as Chief Data Officer from 2019 to 2024, leading enterprise-wide data transformation and strategy. Her influence extends to board-level roles as a Non-Executive Director at AXA Mansard Investments and APD, where she contributes to governance and performance oversight.

    Ngozi has led several transformative initiatives, including the development of KPI and premium financing dashboards, a car valuation model that improved claims integrity, a remote vehicle inspection tool, and a comprehensive value chain analysis that enhanced operational efficiency and customer experience.

    Beyond finance, she is a passionate mentor and advocate for gender equity. She founded the Finance Community at AXA Mansard to promote continuous learning and mentor aspiring women board members through WIMBIZ. She also plays a key role in AXA Mansard’s sustainability agenda, embedding ESG strategies into operations and strategic planning.

    Recognised as one of the Top 50 CFOs in Africa in 2024 and a member of the Harvard Business Review Advisory Council, Ngozi is a respected voice in the finance community. She has spoken at major industry events, including the 2024 International Conference for Women in Insurance.

  • Alo Festival: raising the bar of folk culture

    Alo Festival: raising the bar of folk culture

    Alo 2024 was also a remarkable event because of its unique blend of storytelling, folk music, and unadulterated cultural energy. It was only natural that big companies like Jameson Black Barrel and Goldberg Black sponsored it because it was their first event. Two weeks after holding their first event, the Ecobank Adire Lagos Team extended an invitation to them to bring their expertise to their festival to measure how well their 2024 event was received. It says a great deal about a cultural event holding its first event in a city that has so much to offer in artistic, cultural, and tourism endeavors.

    The organizers have taken steps to improve the experience this year by adding more dimensions to the festival. ALO 2025 went beyond expectations to improve cultural experience and connection. It was held on July 27th at Terra Kulture on Victoria Island, Lagos, and had performances from Lodu, Awero, Ara Music, Olalekan Fabilola, host of Yoruba language show “Masoyinbo,” as well as Brymo.

    During the intimate live storytelling event, guests were present to listen to the oral stories and traditions shared by the elderly, griots, and folk icons. Bimbo Manuel, the legendary actor, was the narrator for the story time segment by ALO Storytime, which provided more add-on attractions for the event. There was the Lumme Olotu Agba folk visuals mini-exhibition, an archival show within the event space featuring folk history and music imagery from Nigeria that provided additional content for the event. As expected, the event has the backing of the Ministry of Tourism Arts and Culture, Jameson Black Barrel, Goldberg Black, Eko 247 Media, Lagos Cultural Mission, and Pulse NG for Rose.

    “The Alo festival, in whose name the tradition of telling stories (alo) is transformed into an ever-changing performance ritual that could be appreciated everywhere in the world, in my opinion, is in itself a unique innovation in the culture of Nigeria.” I have to admit that the 2024 edition has sown the seed in the form of small-scale performances in folklore, while the 2025 edition has nourished it in terms of widening the scope of appreciation worldwide.

    Alo is used here as an instance of how indigenous traditions might be reimagined and reworked for contemporary expression within the cultural landscape. Alo is used to remind performers and observers that there is still so much to tell and share about within the night sky of Nigeria.

    The brain behind this incredible idea is Bisilola Bakare, who is a multidisciplinary creative and cultural curator with a passion for delivering unique brand and community-based experiences. She is also a filmmaker and producer and a creative arts graduate. Afrovibes Africa is a platform created to celebrate and acknowledge the convergence of music, art, and storytelling through creatively designed events and cultural expressions. The idea behind her work is inspired by music and nostalgia and incorporates folk music to deliver unique and emotive experiences with a sense of identity and community.

    She is the creator of Afrovibes Africa, which is a celebration of the fusion of music, art, and storytelling. Her area of interest is the creation of experiences that evoke emotions and bring people closer to who they are, their traditions, and their joys, all of which she finds inspiration for in music, nostalgia, and folklore. Since joining the creative space in 2018, Bisilola has led and produced a wide array of cultural experiences such as Afrovibes Live, Afrovibes Fest, Sing Along Tour, Abula Festival, Indie Night Lagos, GIG House Social, and Black Culture Rave, each being distinct and community-based but deeply rooted in cultural identity.