Category: Arts & Life

  • Healing Through Culture: Oluwadamilola Adetomiwa leads a creative movement

    Healing Through Culture: Oluwadamilola Adetomiwa leads a creative movement

    In a dazzling collision of creativity, courage, and community, Odyssey Media House, led by Executive Director and Lead Curator Oluwadamilola Adetomiwa, is not just hosting events; it is designing a pioneering model for the Combined Arts sector. Their recent, sold-out ‘Create to Heal’ event at Theatre in the Mill was a profound success, serving as a blueprint for cultural institutions to integrate mental well-being and artistic practice.

    Innovative Curatorial Engineering

    The event’s success hinges on Adetomiwa’s incisive curatorial vision. As the Lead Curator, he strategically engineered a Combined Arts experience that seamlessly blended high-level film, dialogue, spoken word and live music to create a culturally resonant conversation.

    This wasn’t mere coordination; it was a conscious effort to challenge traditional genre boundaries and address the often-overlooked relationship between mental well-being and the artistic process.

    “Our goal for this first event was to provide a safe space for creatives to explore how mental health uniquely manifests across different art forms,” declared Adetomiwa. “We want to create safe spaces where art becomes a language for healing.”

    This vision was executed flawlessly by the core artistic programming team, which included Mojola Oni, Love Babalola, and Oluwatobi Olorunmakomi.

    Together, this creative dream team transformed an ordinary evening into something unforgettable, underscoring Adetomiwa’s ability to not only lead but also to strategically delegate and empower talented collaborators.

    The night kicked off with the screening of the emotionally charged short film Joy is Bitter, setting a powerful emotional catalyst. This was followed by a strategic artistic showcase, demonstrating Adetomiwa’s commitment to elevating new UK talent.

    Mofetoluwa Racheal Fasanya, a rising spoken-word phenom, delivered a “jaw-dropping performance,” using poetry to navigate trauma, self-love, and healing.

    The evening culminated with Omotola & Friends, a dynamic Afro-pop collective who “brought the house down” with a vibrant performance, demonstrating how healing can culminate in pure, unfiltered joy.

    The curation provided a critical platform for diverse, emerging voices while affirming Adetomiwa’s expert eye for artistic excellence and audience engagement.

    Strategic Partnerships and National Significance

    The event’s strategic importance within the UK cultural sector was cemented by its high-profile partners. Odyssey Media House gave thanks to the National Science and Media Museum, Cinema for All, and, critically, Bradford 2025 (UK City of Culture).

    The partnership with Bradford 2025 is a powerful endorsement of Adetomiwa’s ability to deliver high-quality, impactful programming at a national level. It positions Odyssey Media House as a key delivery partner for the city’s cultural year and solidifies Adetomiwa’s position as an emerging leader capable of commanding the trust of major cultural institutions.

    With Adetomiwa teasing upcoming projects like A City in Frames and a tantalising new film, Carnal Merchant, one thing is crystal clear: Odyssey Media House is not just reacting to the cultural landscape; they are actively shaping its future.

  • Book for journalists reporting child related issues unveiled

    Book for journalists reporting child related issues unveiled

    A child & media development advocate, Steve Aborisade has published a book for journalists reporting child related issues.

    Aborisade while speaking to journalists explained that the book will help journalists to better understand how to report issues affecting children.

    He said as a media practitioner, he saw both the good and the bad sides of media reporting”.

    “My past experiences with Projekthope as well as Wole Soyinka Investigative Reporting Award (WSIRA) now Centre for Investigative Journalism (WSCIJ), I have seen just how crucial responsible storytelling is. I know how powerful the media can be in bringing attention to important issues and driving change. I have seen how the media can rally support for those who need it most. And, I have also seen how easily this power can be misused, leading to the exploitation of children who cannot protect themselves.

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    “This work thus assumes that the media plays a huge role in shaping how we see things, and rightly so, especially when it comes to stories about children. It is on this premise that this book builds on what I explored in my Master’s thesis at the University of Haifa, where I studied International MA Program in Child Development at the Faculty of Social Sciences, and looked at how issues of identity and trauma are presented, especially for those who are vulnerable.”

    While calling for support to change the narrative, he said interested buyers can get the book here https://selar.com/7l1075 or call+234 7082615021.

    Speaking about the book, “Covering Children: Guidelines for Journalists”, Mojúbàolú Olúfúnké Okome, Professor of Political Science, Brooklyn College, CUNY New York, said the book was necessitated by different challenges faced by journalists in reporting children.

    She said the book serves as a guide for journalists on ethically reporting about children.

    “It emphasizes responsible storytelling and considers the impact of media on children, who are seen as vulnerable due to their limited understanding of the consequences of media exposure.

    “The guide advocates a trauma-informed approach, prioritizing the child’s well-being over the story. It also highlights the need to balance the public’s right to know with the protection of children’s privacy and dignity.”

    Speaking further, she said children are vulnerable and may not fully understand the implications of media exposure. “They can be harmed, stigmatized, and exploited through irresponsible reporting. Maintaining the privacy and confidentiality of children is critical. This includes not disclosing identifying details and handling sensitive information with discretion. Journalists need to be aware of the long-term effects of media exposure on a child’s life.

    “Therefore, journalists should avoid portraying children negatively and be aware of potential retribution or psychological harm due to their reporting.”

    Similarly, Lanre Idowu, Founder-Trustee, Diamond Awards for Media Excellence Trust Fund, said Aborisade deserves appreciation for mainstreaming the place of ethics as the oxygen that fuels individual and institutional credibility.

    “Indeed, without public trust, journalism is no more than a dangerous, ego-tripping pastime. Contextualising ethics in the way children issues are addressed indicates the author’s sensitivity to the place of the child in the orderly development of society. Here’s a book stressing the child matters as a member of society and an agent of development with rights, who deserves attention, affection, and respect. It is a welcome resource that equally holds that good journalism matters; it certainly adds value to the wider discussion on the ends that media scrutiny and engagement should serve in society.”

    Also speaking, Akin Jimoh, Executive Director, Development Communications Network; Chief Editor, Nature Africa, said  the book is a must-read for ethical and impactful child-centric journalism.

    “In a media landscape where children’s stories are hardly reported and are often shaped by adult voices, covering children challenges journalists and media organisations to rethink their approach.’’ “This book provides a roadmap for ethical, responsible, and compelling reporting that truly represents young lives.’’

    “From navigating children’s rights and privacy to striking the balance between storytelling and advocacy, each chapter offers practical insights and real-world case studies. Whether you’re covering vulnerable groups, tackling ethical dilemmas, or adapting to digital journalism’s rapid pace, this guide pushes for a future where children are not just subjects—but active participants in the narratives that shape them.’’

    “More than just a handbook, Covering Children: Guidelines for Journalists is a call to action: to tell stories that inform, inspire, and create real change with a culturally protective mien.”

    On his part, Lekan Otufodunrin, Executive Director, Media Career Development Network, said, “As an advocate of ethical media practice, I find Covering Children: Guidelines for journalist as a very useful and practical guide for getting journalists not only to  understand the intricacies involved in reporting children issues, but the need to be more professional, sensitive, thoughtful and compassionate.

    “The book, with relevant insights, comprehensively underscores the need for child-centric journalism based on applying necessary skills to elevate reporting of children beyond the present level where many journalists unconsciously do irreparable damage to children through their reports.

    “Journalists who need more explanation on the provision of the Code of ethics for journalists on covering of children and minors, that requires that they should not identify, either by name or picture, or interview children under the age of 16 who are involved in cases concerning sexual offences, crimes, rituals, or witchcraft whether as victims, witnesses, or defendants, will find this book very insightful.”

  • Stakeholders advocate celebration of cultural roots to inspire future generations

    Stakeholders advocate celebration of cultural roots to inspire future generations

    Stakeholders, including the convener, 7th Art Competition and Inter Schools Talent Hunt Exhibition, Olaide Turner-Moyet; Professor of Arts and Dance, Chief Tunde Odunlade; the Zonal Director (Southwest) and Curator of NCMC, Aleshinloye, Ibadan, Toyin Odugbesan as well as others have harped on the needs for Africans to celebrate their roots and honouring their stories to inspire pride in future generations.

    According to them, preserving African cultural heritage is crucial for fostering sense of identity and promoting intercultural understanding.

    The stakeholders said Africans can create a future where their rich cultural heritage thrives by embracing diverse traditions, celebrating their unique identities and fostering pan-Africa unity.

    Speaking in Ibadan at the 7th Art Competition and Inter Schools Talent Hunt Exhibition with the theme “My African Roots: My Pride”, Turner-Moyet urged Africans not to relent in celebrating their roots, honor their stories ans inspire the pride that will shape the next generation of artists, thinkers and leaders.

    She said the future of Africa is now not tomorrow, urging young talents to take their future in their hands.

    Turner-Moyet said the theme was born out of a vision  towards bridging creativity with purpose, seeing the platform as fertile ground where self awareness meets skills, building where artistic expression meets cultural education, and where seeds of leadership are sown through imagination and dialogue.

    She said: “The mission is to foster confidence and curiosity in young minds by allowing them to in their perspective and sculpt their stories. This event is an initiative deeply rooted in purpose, passion and profound power of creative expression.

    “The inspiration behind this initiative is the pressing need to engage and empower next generation by building their confidence, nurturing their talents towards providing meaningful exposure that validates their dreams.”

    Read Also: NUTGTWN, FEPSAN mourn Buhari, hail his commitment to industrial, agricultural revival

    Odunlade urged Nigerians across the world to united and ensure that the nations arts and culture don’t go into extinction, saying Nigerians must always promote the nations arts and culture because wisdom is domicile in it.

    He cited Carrabeans and holy land of Mecca as places where potentials in arts, culture and tourism are being trapped to generate money for the government.

    He urged government to create enabling environment for talented youths to thrive for them to use their potentials to become better people in future.

    He stated that youths are the future of tomorrow, adding that government must give the right kind of education that is critical towards the development of the nations roots, arts and culture.

    One of the guest lecturers at the event, who is the Director of Medical Social at Services UCH, Olagunju Adelayo urged parents to always watch and monitor the young ones for them to stay away from whatever that can jeopardise their education.

    He called for reinstatement of moral instructions in school curriculums. 

    Commissioner for Education, Science and Technology Segun Olayiwola said Nigeria, particularly Oyo State has a lot of talented youths, urging Nigerian leaders to tap into their potential so as to ensure that the skills in them dont die or waste.

    Highlights of the event was presentation of award to schools that won Music, Drama, Virtual Art, Mime and Dance competition which included LeadCity University, St. Louis Grammar School, Bodija International College(Snr. &Jnr.), Quiblah International School, Community High School Iseyin and Community High School, Samonda respectively.

  • Outrage trails ex-SGF’s ‘claim on Lagos–Calabar Coastal Highway

    Outrage trails ex-SGF’s ‘claim on Lagos–Calabar Coastal Highway

    The statement credited to former Secretary to the Government of the Federation (SGF), Babachir David Lawal, alleging that the Lagos–Calabar Coastal Highway is a scam has drawn widespread condemnation from Nigerians. Reacting, Uchenna Orji, Special Adviser on Media to the Minister of Works, David Umahi, dismissed Lawal’s remarks as factually incorrect and reflective of a poor understanding of the project’s national significance. In this report, DELE ANOFI, MIKE ODIEGWU, ROSEMARY NWISI, OKUNGBOWA AIWERIE and ELO ELDREMODA examine the wave of reactions

    The recent claim by former Secretary to the Government of the Federation (SGF), Babachir David Lawal, describing the Lagos–Calabar Coastal Highway project as a scam, has been dismissed as politically motivated and lacking in substance. Uchenna Orji, Special Adviser on Media to the Minister of Works, David Umahi, described Lawal’s remarks as factually incorrect and reflective of a misunderstanding of the project’s national significance.

    In an interview with The Nation, Orji expressed disappointment that a personality of Lawal’s stature would publicly dismiss a project of such magnitude without acknowledging its far-reaching economic benefits. “It is unthinkable for a man of his standing to be deliberately blind to the progressive and bold achievements of President Bola Tinubu’s Renewed Hope Agenda in road infrastructure. The Lagos–Calabar Coastal Highway is not just a road; it is a transformative project designed to open up Nigeria’s economic corridors and enhance connectivity along the coastal states,” Orji said.

    He stressed that the project, under the supervision of the Ministry of Works, is being implemented with full transparency and backed by clear economic projections, contrary to Lawal’s assertions. Orji further noted that Lawal’s criticism of the project and the inauguration of its first phase by President Tinubu demonstrated a limited understanding of project phasing and commissioning. “The Lagos axis that has been inaugurated has provided invaluable insights into the project’s complexity, productivity, and timelines needed to deliver the entire highway,” he explained.

    He added that Lawal must be reminded that the Tinubu administration continues to execute all inherited projects across the six geopolitical zones, with significant improvements in delivery speed, quality, and value for money. Highlighting the scale of the president’s infrastructure drive, Orji said: “Mr. President initiated four legacy projects connecting major economic corridors across all six geopolitical zones, including the 1,068-kilometre Sokoto–Badagry Superhighway. Fifty-two per cent of these projects are located in the North, while 48 per cent are in the South. President Tinubu has demonstrated unprecedented inclusiveness in the distribution of road projects, recognising that infrastructure is the backbone of national development.”

    Orji also believed that the former SGF might be unaware of the importance of the Lagos-Calabar Coastal Highway to the growth and development of Nigeria’s economy. He said: “He needs to know that the project is an investment for the future of Nigeria and a game changer for key sectors of the Nigerian economy, including manufacturing, oil and gas and agriculture. It is a catalyst for industrial growth and tourism development. It will greatly improve access to seaports, facilitate trade, stimulate economic growth and regional integration and it will definitely expand the transportation ecosystem. It is the biggest economic corridor in Africa, no doubt about it.”

    He urged Lawal to channel his energy into more productive national ventures, even as he said “I urge him to concentrate in thoughts of containing with the imminent disgraceful collapse of the gathering of the internally displaced politicians and birds of strange fellows, who are using ADC as a platform to launch their rhetorical political ventures.”

    Criticism misguided, says Otu

    Describing the former SGF’s criticism as misguided, the Cross River State Governor, Senator Bassey Out noted that the Lagos-Calabar Coastal Road is a transformative infrastructure project which will unlock unprecedented economic, tourism and commercial potential across Nigeria’s coastal regions. It promises job creation, regional integration and seamless connectivity from Lagos to Calabar. The project reflects the bold vision of modern Nigeria. Criticism of such a milestone project is not only misguided but deeply anti-development. Babachir Lawal’s opposition reeks of political pettiness and a warped sense of national progress. His outdated views betray a glaring disconnect from contemporary realities and global infrastructure trends. His stance marks him as anti-progress, unpatriotic and fundamentally hostile to the aspirations of millions poised to benefit from this historic initiative.

    Also, Southsouth leaders have lashed out at Babachir Lawal for regarding the coastal road a scam. In the same manner, the Ijaw National Council (INC) has said that the former SGF goofed in his comment that the coastal road was a scam. Taking a swipe at Lawal, the Southsouth leaders said his comment aimed at diminishing the importance of the Lagos-Calabar Coastal Highway project being undertaken by the administration of President Bola Ahmed Tinubu.

    The President of the Ijaw National Congress (INC), Prof. Benjamin Okaba; Convener, Forum for Ethnic Nationalities of the Niger-Delta (FENND), Tawari Dortimi; the Secretary of the Itsekiri Leaders of Thought (ILoT), Amorighoye Mene and former President of Ijaw Youths Council (IYC) Worldwide, Udengs Eradiri were particularly miffed that Lawal described the superhighway project as a scam. Okaba described Lawal’s comments as “provocative and condemnable,” insisting that the former SGF goofed. He lamented that having attained the exalted position of SGF, Lawal should have “a perfect understanding of the peculiarities of every region and also know what must be done to address those issues.”

    Read Also: Senate okays Tinubu’s $21bn foreign loan request

    Okaba said despite the Southsouth region being the major sustainer of the development of the country since the discovery of crude oil, the region had remained marginalised in terms of infrastructures. He said the current administration deserved commendation for listening to the yearnings of the people and embarking on a project, whose benefits he said transcended transportation, to include social and economic integration of coastal communities.

    He said what Lawal needed was proper education because he spoke out of ignorance. He said: “We have been crying of marginalisation about the absence of infrastructure. So if the present administration has decided to listen to the yearnings of the people and depart from the norm of past leaders to pick up one of the pressing issues of the region. I think it should be applauded.

    “By way of summary, I think Babachir Lawal goofed. He didn’t speak as someone who has occupied such an exalted position of SGF. For him to say the coastal road is a scam, shows a lack of knowledge and unwillingness to learn.”

    Highlighting the numerous benefits of the coastal road, Okaba said, among other things, that it would cut travel time to export terminals; stimulate social integration of coastal communities; develop coastal belt region and act as an alternative route to the hinterland. Dortimi, on his part said the former SGF was seeking political relevance; hence, he resorted to speaking ill of the current administration. He said Lawal lacked the moral authority to speak about scams given his antecedents in public service.

    Mene, in his reaction, reminded Lawal that the Lagos-Calabar Highway remained a major move to address the abandonment and marginalisation of the Niger Delta region since independence by President Tinubu. Mene, in an emotion-laden voice described the comments by the former SGF as not only “unfair,” but also “unfortunate.” He said: “Without mincing words, the Lagos-Calabar Highway as being implemented is the best thing that has ever happened to the Niger Delta. “The area covered by the Lagos-Calabar Expressway is the goose that lays the golden egg. It is the heart of the Niger Delta. And the Niger Delta has fed Nigeria since independence.

    “So, anybody that criticises the Lagos-Calabar Expressway is being unfair and unjust to the people of the Niger Delta. For us in ILoT, we emphatically expect the completion of the road. And we are praying that the route should pass through Ogheye-Koko to open up our areas that have remained underdeveloped for so many years.

    “It is very unfortunate and very unfair because the eight years of Buhari’s administration witnessed a total neglect of the Niger Delta region. The Benin-Warri Road infrastructure collapsed completely, the Benin-Onitsha Road collapsed in the eight years, the East-West Road remained uncompleted and other critical infrastructure in the period of the eight years under Buhari’s government.

    “For the people of the Niger Delta, the Lagos-Calabar Highway is a major move to address the abandonment and marginalisation of the Niger Delta region all these years. So, anybody who is criticising that project is being unfair to the oil-bearing Niger Delta region of this country. That is why I say that the comment was unfair and unfortunate.”

    Commenting on the issue, Eradiri described Lawal’s comment as a hate speech and opposition politics taken too far. He said people criticising the project either lacked understanding or were driven by hate and negative jealousy. Eradiri observed that already, the project had stimulated huge economic activities in the North, South and West, adding that Lawal and others who are defaming the project were enemies of the country. He said: “It is either they lack understanding or they are taking the opposition issue too far. Already, the coastal road has stimulated a lot of economic activities in the Niger Delta. I am in the dredging business and you hardly find equipment anymore in the region because a lot of people are engaged.

    “You imagine the spiral effects of such inflow of resources as a result of the project. We need to start doing an assessment of the jobs the Tinubu government has created through various initiatives.

    The coastal road is creating many jobs in the South, West and in the North. Those criticising the project are truly not lovers of Nigeria. This President met a system that was destroyed by these same people, who are ganging up as coalition leaders. They ran the country aground but we give credit to Tinubu who has been reorganising the country.

    “What they have just formed is a coalition of destroyers of Nigeria. They are coming together against someone who is rebuilding what they had destroyed. I call on the President to remain focused and not be distracted by the so-called coalition and their hate speeches.” Also, a politician and social analyst, Celestine Akpobari hailed the Federal Government for embarking on the coastal road project.”

  • Breaking new grounds for female artists

    Breaking new grounds for female artists

    A solo exhibition of paintings by Yakno Jessicah Ene tagged Beyond words and time, which opened recently at the Thought Pyramid Arts Centre, Ikoyi, Lagos, was more than a fitting title as it was a declaration of arrival, strength, silent battles fought and won. The exhibition, and everything it represents, prove what it means to not just ‘talk the talk, but to walk the walk.’

    It will run from July 13th to 26th. Curated by Adetiloye Oluwatosin Jekami, the exhibition marks Yakno’s return to Nigeria following her international debut solo at The Other Art Fair Dallas in 2024, funded by Next of Kin and Thought Pyramid Art Centre.

    According to the Exhibition Director, Thought Pyramid Art Centre Mr. Ovie Omatsola, Yakno’s journey to this moment has been anything but easy. He recalled that before she was crowned the main prize winner of Next of Kin Series 6, she faced custom rejections. “She submitted, hoped, and was turned down. But she didn’t stop. She didn’t disappear. She evolved. She tried again—and again—until her turn finally came. And when it did, she didn’t just make it count; she made it unforgettable.

    “Series 6 will go down in Next of Kin history as one of the classics. Not just for the quality of entries or the expansion of the competition across Africa, but because it gave us Yakno—the very first female main prize winner in a finalist lineup of 20, most of whom were male. Her victory was not just a win for herself, but for every young woman who has ever questioned whether she belongs in the art industry, whether she has what it takes, whether she can rise and stand tall in male-dominated spaces. Yakno’s answer to all those questions is right here—in these 16 works. With this debut Nigeria solo exhibition, she communicates the truth of her gender: the things they have conquered, and those they will continue to rise above. This is a deeply personal body of work, but also a universal one. It speaks to resilience,” he added. He described the exhibition as a reminder that true artists aren’t made overnight, but are shaped in the quiet places of rejection, determination, and courage. Addressing themes of female identity, time, and the pressures of societal expectation, the exhibition resists easy interpretation, preferring instead to immerse the viewer in richly symbolic compositions.

    “Accomplishing victory as Next of Kin Series 6 main prize winner is incredibly meaningful to me, especially being the first female artist to win it on a continental level. This recognition is a privilege and a testament to the hard work and dedication I’ve put into my craft. Being the second female winner, following the inspiring Anthonia Nneji, whom I admire greatly, adds to the significance of this achievement,” Yakno said.

    Read Also: ‘Tinubu is an ardent supporter of media, committed to press freedom’ – Idris

    Interestingly, she is the second female artist to claim the NOK prize and the first to do so at a continental level. Her unique vision, dedication, and pursuit of self-expression have propelled her into the spotlight, breaking new ground for women artists in Africa. Among the 16 works on display were Her Sanctuary of fading rules, Made of light not of flesh alone (series), The grip of times and vines, The waiting room, What else must I become, Where I wander, and Wings flutter. Of all the works, only one was produced in 2024.

    Beyond words and time challenges those narratives as she confronts age-shaming, deconstructs the myth of the biological clock, and critiques the pervasive beauty standards that demand women remain perpetually youthful and on time.

    Yakno’s approach blends satire, surrealism, and a naive painting style, resulting in visually arresting works that invite both introspection and confrontation. She incorporates a range of living and symbolic forms, each chosen to represent the tension between bodily autonomy and societal expectation. These motifs speak to the visible and invisible burdens that women carry, forming a language of resistance rooted in culture, emotion, and memory.

    Her perspective is shaped by an upbringing among strong female family members in Nigeria, as well as formative years spent in Ghana, a country with notable matrilineal cultural influences. This dual exposure enriches her practice with a layered understanding of both cultural pride and social pressure. Her work simultaneously celebrates womanhood and critiques the systems that attempt to confine it.

    Beyond Words and Time is not merely a critique—it is an act of reclamation. Through these works, Yakno asserts that womanhood is not a deadline, that ageing is not failure, and that a woman’s worth cannot be reduced to her ability to be chosen, to conceive, or to conform. By inviting viewers into a space of reflection, discomfort, and release, Yakno challenges them to confront the deeply embedded narratives around time, age, and femininity. Her work stands as a declaration that beyond societal expectations—beyond words and beyond time—women exist: fully, powerfully, and on their terms.

  • Advertising agencies shine at gala night

    Advertising agencies shine at gala night

    The 52nd Annual General Meeting and Congress of the Association of Advertising Agencies of Nigeria (AAAN) came to a close in Ibadan on Saturday with a Gala Night that spotlighted emerging talents and honoured key contributions within the industry. The event marked the culmination of a three-day gathering that combined business deliberations, knowledge exchange, and community building.

    One of the highlights of the evening was the presentation of the Rising Star Award to five young professionals nominated from leading agencies. Among those recognised were Ayoade Omolola of X3M Ideas, Chidera Okpala of SO&U, and Faruq Alimi of Noah’s Ark. They were joined by Deborah Folaranmi of Wunderman Thompson and Leah Afolabi of Leo Burnett, all acknowledged for their creativity, dedication, and potential to shape the industry’s future.

    Read Also: ‘Tinubu is an ardent supporter of media, committed to press freedom’ – Idris

    The mood turned solemn during a posthumous tribute to the late Suleman Omone-Ogie Momoh, who was honoured for his outstanding service and leadership. A moment of silence was observed by members of the association as they reflected on his legacy and contributions to the sector.

    Earlier in the day, AAAN held its business session, of which a key development was the induction of eight new agencies as associate members. The new entrants, spanning traditional, experiential, and digital marketing, were welcomed as part of the association’s continued expansion.

    The AGM began on Thursday with a fireside chat with the Director-General of the Advertising Regulatory Council of Nigeria (ARCON), Dr. Lekan Fadolapo. On Friday, there were keynote addresses by Idowu Akinde, Managing Director of Impact Hub Lagos, and Bolanle Osotule, General Manager and Head of Brand Marketing and Advertising at Airtel Nigeria. The day also included panel discussions that explored trends in innovation, governance and the evolving landscape of marketing communications.

    In his closing remarks, AAAN President Lanre Adisa described the Congress as “a time of reflection, renewal, and resolve.” He noted that the sessions had reinforced the association’s commitment to fostering a forward-looking, inclusive, and self-aware industry. He praised the participation of young professionals and emphasised the importance of continuing conversations around creativity, regulation and agency growth.

  • BoP conference returns with The Art of Enterprise

    BoP conference returns with The Art of Enterprise

    The Business of Photography Conference (BoP) will hold between September 15 and 19, at Landmark Event Centre in Lagos with the theme, The Art of Enterprise.

    It will be an unparalleled gathering that doesn’t just showcase talents but catapults you into the heart of the industry. The conference will bring together photography maestros, visionary filmmakers, influential brand leaders, innovative policymakers, and keen investors from across the continent for the three-day event. It will be an ecosystem of growth with stimulating master classes, insightful panel discussions, enriching networking sessions, and breathtaking exhibitions—crafted to arm you with some business acumen while fueling your creative fire.

     “The Art of Enterprise represents our dedication to empowering visual storytellers to craft not just their art, but successful ventures,” says Kola Oshalusi, the visionary behind BOP Conference. In a digital landscape ruled by creativity, it’s critical for professionals to balance aesthetic prowess with business savvy. We’re here to ignite that powerful synergy among African creative,” according to the organisers. 

    Read Also: Senate okays Tinubu’s $21bn foreign loan request

    Building on its legacy of previous successful editions, BoP remains at the forefront of advocating photography’s pivotal role in Nigeria’s and Africa’s socio-economic growth. The visual arts sector is more than just expression—it’s a robust avenue for job creation, culture preservation, and presenting Africa’s creative genius on the global stage.

    This conference is a must-attend for both emerging and established photographers, videographers, creative entrepreneurs, content creators, media professionals, brand strategists, marketers, art directors, and anyone involved in the business of visual storytelling.

    Business of Photography Conference serves as a vibrant hub for knowledge exchange and strategic collaborations, connecting creatives with potential clients, industry leaders, and government policymakers to forge a thriving artistic future.

  • ‘How God saved me from fatal crash’

    ‘How God saved me from fatal crash’

    Lawrence Nwimo, Anambra-based journalist was once a newspaper vendor in the state. In this exclusive interview with Emma Elekwa, the Masters Degree student of Nnamdi Azikiwe University shares his 12 years vending experience and how he found himself in the media industry.

    What informed your decision to quit newspaper vending for journalism?

    My becoming a journalist was more of passion. Going down memory lane, I started journalism practice as an undergraduate. I didn’t even know I’ll eventually become a full-fledged journalist. I studied Library and Information Technology at Federal College of Education (Technical) Umunze, affiliated with Nnamdi Azikiwe University, Awka. While in year one, I had a conversation with a friend who asked me what I intended doing after graduation. “Don’t you think this course would not offer you much after all?” I laughed it off then. But on getting home, I gave that question a deeper thought and reasoned within myself of a need to have a plan B in case I later found it difficult to secure job on graduation. I asked myself what else I have passion for and I know that It is writing. While in secondary school, I had a long note dedicated for writing essays and articles. I decided to develop my writing skills.

    Meanwhile, I was combining my studies with selling newspapers because I lived with a woman popularly called Madam Kon, who was into newspaper sales/circulation. Actually, she trained me from secondary to tertiary level. During my university days, I was shuttling between Awka and Umunze because she insisted I was in Awka every weekend to hawk newspaper on the streets. Since I’m always in possession of newspapers, I developed interest in reading each of them. One day, while flipping through the pages of one of them, I came across an advert seeking for reporters in one of the media outfits in the state. I quickly wrote an application and took it to a friend who happens to be in the line of communication. I told him of my interest and he asked if I’m sure it’s something I could do. He also expressed fears of the difficulty I’ll face in sourcing for materials. After convincing him of my capabilities, he promised to link me up with his boss, one Emeka Odogwu to coach me further. He equally assured me of mastering the art with constant practice. I quickly contacted Odogwu who booked an appointment with me. One of the things he told me was that there’s no money in journalism. I replied him that my interest was not the money but in learning the job. That same day, he gave me an assignment to write a feature story on a market in my locality. Before then, I’ve not written any news story, not to talk of features. I took it up as a challenge. It took me up to one month to knock out the features, which I titled, “Umunze market a disaster waiting to happen”. From then, Odogwu started sending me on assignments and of course, I kept making mistakes until I stabilised. I also covered inaugural lectures and other campus activities. The more I reported those events the more the interest developed. At a point, I was seen as a celebrity in the institution. That was how I gradually mastered the art.

    When exactly did you start newspaper vending and how long did you last in the business?

    That was 2006 after my primary school. I started from one of the major junctions called Kwata along the Enugu-Onitsha Expressway. That was before the flyover was constructed. I sold the paper up till my final year. I stopped selling papers the exact day I wrote my last paper. That was in 2018.

    Selling newspapers, especially as an undergraduate can be challenging if not frustrating. How did you cope with the insults, shame and humiliation such menial jobs could bring?

    Actually, that was a very big challenge. When I gained admission in 2014, my madam promised to train me, but on a condition of continued newspapers sale, but this time with a weekly stipend of N3,000. Though that contract was not signed, but she warned that any default would attract withdrawal. For the 4 years I spent in school, nobody knew I was a newspaper vendor, except few individuals. I kept dodging anytime I see my classmates. I felt they would use it against me if they found out. That made me to live dual lives. In school, I faced my studies squarely; but at work, my eyes were as sharp as eagle’s.

    My securing admission made me change from street hawking to selling at a spot, at least to reduce the number of persons that will see me each day. Though the few persons (including my HOD) that saw me were proud of me, but I didn’t understand it that way. My solace was that the whole thing will be over one day as I won’t sell papers for eternity. That was why the job terminated on my graduation day. I went to my madam and told her I was done.

    How profitable was vending business?

    Yes, the business was lucrative then. That was close to the emergence of internet. But, as years passed by sales and profits started dropping. I had predicted that there won’t be anything like hardcopy in newspaper business by 2018/2020. When I started, a copy of newspaper was sold for N80 and if you sell a copy, you’re entitled to N20. A vendor could finish 50 copies of SUN, for example before noon. As the prices increased so the profit. Though I was entitled to the profit, but I retire all to my madam who is responsible for my feeding and upkeep. Newspaper business was so lucrative that many built houses and bought cars with the proceeds. But the trend started changing around 2014-16. I had also expected my madam to reduce my days of business and probably my stipend in view of drop in sales. But she insisted on the sale. Even while in school. There was no weekend I missed sales. I sold full time during holidays.

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    How did you combine newspaper vending with your academics?

    It was really a miracle because if you check my academic records, you won’t believe it was from someone with such distractions. One would think I was a full-time student resident in the hostel. Infact, I was among the best 3 graduating students in my department. After Friday lectures, I would always leave for Awka to only return to Umunze Sunday night in preparation for Monday lectures. I’m the kind of student that loved studying ahead. I would collect materials from my predecessors, at least three of them which I devoted time to study every holiday. Before resumption of a new semester, I was already good to go.

    What’s growing up like that compelled you to work for someone else at that early stage of your life?

    I came from a poor, humble background. I wasn’t born with silver spoon in my mouth. My dad (now late) was a motorcycle mechanic. We are seven in the family, four girls and three boys, but I’m the first son. After my primary education, two persons came to my house, requesting for someone to assist them in their business – one of who was my Madam. I chose her against the other man because she promised to train me in school. Though she was not specific of the type of assistance I would render to her, but as a lover of education I had no option than to accept the offer. From my early days, I was determined to succeed knowing my background.

    I could remember the ‘small boy’ nickname they gave me then because of my age and size. I was faced with the risk of crossing the highway in pursuit of customers with other older colleagues. There was a day a speeding private vehicle from Onitsha nearly ran over me. Actually, my size attracted more patronage from customers. One miracle I won’t forget in a hurry was how God saved me from a fatal accident in 2008, at Kwata junction, that left about 80 persons dead. I was supposed to be around that spot when the incident happened but I went to Amawbia to sell papers that day. I was there when I got the news of the crash. That was how I relocated and remained in Amawbia for some years.

    You said you took advantage of possession of the papers to read them. Do you think that contributed in shaping your writing skills as a journalist?

    Yes it did. It did not only contribute in shaping my writing skills but venturing into journalism practice. Right from time, I love reading. I remember reading articles of columnists like Funke Egbemode, Dimgba Igwe, Jude Atupulazi and other authors. I consumed every newspaper at my disposal. Though that attitude pitched me against my madam. At times she would scold me for reading instead of giving 100 percent attention to selling the papers. But I didn’t bother. The number of clients that patronized me against my colleagues could be attributed to this. Because most of my customers knew I have knowledge of the content of most papers, they would come to me and ask, “which paper carry better news?” I would advise them on the ones to buy. Same was applicable to those looking for jobs. That gave me an edge over my colleagues whose interests were only in the number of papers they sold.

    How many media houses have you worked for and how do you feel being a journalist?

    As a campus reporter I contributed to New Telegraph, Authority and Daily Sun. After graduation, I reported for a community newspaper called “Ogene Newspaper,” based in Ndikelionwu in Orumba North Local Government Area. I also freelanced for Daily Sun before being employed at Orient Daily Newspaper. I’m currently with Ikenga Online and Odogwu blog.

    I feel great especially when I compare myself with my contemporaries who see me today as a big man. Journalism has taken me to places and I have enjoyed company of the high and mighty in the society. When I remember all the derogatory names and remarks they make about me then, I feel good. Some of the special recognitions I’ve gotten from the profession as well as personalities I’ve met also make me feel on top.

    Which of your stories would you rate as your best?

    Well, that would be difficult to pick. Apart from my investigative stories, I rate highly one of the reports I did in Aba, titled: Obohia, “a health disaster waiting to happen.” It was my first time of visiting Aba with my sick dad during my NYSC, and I seized the opportunity to do that report. I also cherish my report titled: Five Years After Disability Law, PWDS in Anambra Still Denied Inclusion.” It was published last year and it fetched me the first runner-up of the Prof. Stella Okunna Award for Ethical Journalism. They are countless that still give me joy today.

    What’s your advice to youths of today who view these menial but lucrative jobs as befitting for them?

    When I talk to the youths, I make them to appreciate that life is all about what you decide to make of it. Life is all about determination and building blocks. As you’re building, you’re adding knowledge and that makes you stronger. Tracing my life history, you’ll see determination and eagerness to succeed. One peculiar incident I wouldn’t forget hurriedly is a comment by someone to me while hawking newspaper. He said, “I like the way you’re suffering now so that when money start coming, you won’t waste it on women.” That statement registered in my mind. Anything money comes into my hand and the thought of squandering it comes, I’ll remember that comment. While under my madam, we were about seven boys. But I was the only graduate. That tells me that life requires patience. When I see those hawking along the street, I remember my years of struggle. The youths must know that there’s no amount of struggle and suffering that will kill them. But they will rather be toughened by life challenges.

    Any regrets in life?

    I had intended being a military officer. I had wanted to join the Nigerian Defense Academy (NDA) which was what led to my studying at Umunze. But I wasn’t taken, not because of poor performance, but on quota basis. I knew my entrance was good. I scored over 250 in JAMB, but it was only 6 persons that were selected from my state. That was a very big disappointment because I wanted to study something different in the university. But instead of wasting extra year, I decided to go for the course I eventually studied. That’s the only thing I can see as regret in my life. But that doesn’t mean I don’t like the course because I see lots of prospects.

  • MOWAA holds inaugural exhibition, unveils Artist Council

    MOWAA holds inaugural exhibition, unveils Artist Council

    The Museum of West African Art (MOWAA) will unveil the first phase of its Campus and the Institute in Benin City, Edo State capital, with an inaugural exhibition, the anticipated return of the Nigerian Pavilion from its showcase at the 60th Venice Biennale featuring four new artists such as Kelani Abass, Modupeola Fadugba, Ngozi-Omeje Ezema, and Isaac Emokpae. 

    In conjunction with the opening, MOWAA will also inaugurate the Artist Council, a collection of leading contemporary African and diasporic artists. This dynamic group is dedicated to influencing the future of artistic expression and deepening institutional engagement across Africa and the global art community.

    Curated by Aindrea Emelife, the Nigeria Imaginary Homecoming exhibition, which will open on November 11, 2025, will unfold across multiple spaces on the MOWAA Campus and will open critical possibilities for dialogue and reflections on the state and possibilities of the nation. This exhibition closes on April 11, 2026.

    According to a statement by the museum, the event marks a significant step forward in the development of cultural institutions on the African continent.

    The MOWAA Institute spans approximately 4,500 square meters (48,000 square feet) of state-of-the-art facilities for archaeological research, conservation, and public programmes, as well as one of the largest collections storage facilities on the continent. Following a dynamic programme of preview events, including exhibition tours, talks, workshops, and neighborhood activations, the launch will celebrate MOWAA’s five-year journey, showcasing its work in both preserving the region’s cultural and artistic past, while driving new contemporary practice.

    The opening of the Institute marks its milestone in a constellation of buildings which will form the MOWAA Campus in the heart of Benin City, Nigeria. Further spaces will include: The Rainforest Gallery (the main exhibition space), The Art Guesthouse (boutique hotel), The Artist Studios and The Artisans’ Hall (performance and event space). Situated within the emerging Benin City Cultural District, the full Campus is projected to reach completion by 2028, repositioning the city as a global cultural capital. At the core of MOWAA’s vision is a commitment to inspiring the next generation of creatives, artists and cultural thought leaders in West Africa. The establishment of the Artist Council expands this mission beyond the museum’s walls, ensuring that the development and evolution of MOWAA’s flagship programming. Through critical dialogue that interrogates contemporary artistic and socio-political landscapes, ers or advisors – opening pathways for collaboration with MOWAA through joint initiatives and special projects that encourage deeper engagement and shared impact. Confirmed council members include: Yinka Shonibare, G.A.S. Foundation; Michael Armitage Contemporary Art Institute (NCAI); Victor Ehikhamenor, Angels & Muse and Black Muse; Nengi Omuku , TAOH Africa; Dr. Odun Orimolade, YABATECH; Kaloki Nyamai,  Kamene Cultural and Research Center.

    “The Council reflects MOWAA’s commitment to reimagining and asserting the primacy of African and diasporic cultural production on its own terms, while grounding urgent discourse in real spaces and active practice. Members will serve two-year terms, with the possibility of extension to support continuity and deeper engagement.

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    Their role spans mentorship in education and residency programmes, and advising on exhibitions and research labs to ensure alignment with real-time artistic urgencies. As ambassadors, Council members will foster two-way exchanges across Africa and globally – championing African practice abroad while bringing fresh perspectives home.

    “The announcement of the opening of the Institute and the establishment of the Artist Council represents a milestone in the continuing expansion of West Africa’s cultural and artistic heritage, not only in preserving the past, but towards catalyzing the future.

    Opening MOWAA during Nigeria’s art season allows us to situate this institution within a broader, ongoing conversation about art in and from Africa, and our Artist Council signals our commitment to supporting artists, thinkers, and publics in shaping how culture is produced, seen, and understood,”  Director, MOWAA, Mr. Phillip Ihenacho added.

    Artist Council member, Victor Ehikhamenor, who expressed happiness about his responsibility as a council member, said: Joining MOWAA’s Artist Council is both a responsibility and an honor. As artists, we are not just creators – we are custodians of memory, of community, of possibility. Too often, institutions are built around art without the artist’s voice as its foundation. MOWAA is reversing that. By centering artists in its structure, it offers a bold template for how museums can evolve – not only in West Africa, but globally. I look forward to contributing to a model where creativity, criticality, and care lead the way.

    For Director, MOWAA Institute, Ore Disu, it is a sustainable progress in the arts that requires more than individual brilliance – it demands long-term institutional thinking and action. “MOWAA’s Artist Council embodies this approach, bolstering artistic practice with infrastructure and ensuring that those shaping culture help shape the systems that sustain it. MOWAA is committed to working with others to build a regenerative and interconnected creative ecosystem. Residencies, archives and arts education cannot thrive in isolation; they must be grounded in dialogue – between artistic experimentation, real world conditions and Africa’s deep historical knowledge systems,” she added.

  • Ireke: Rise of the Maroons makes debut July 25

    Ireke: Rise of the Maroons makes debut July 25

    A cinematic experience is set to hit cinemas worldwide on July 25, as Ireke: Rise of the Maroons, a 96-minute historical drama makes its highly anticipated global release. Directed by Emmy-nominated BBC journalist, Gbolahan Peter Macjob, the film promises to be a monumental entry into African storytelling on the big screen.

    Starring a constellation of Nollywood and international talents including Bolanle Ninalowo, Tobi Bakre, Atlanta Bridget Johnson, Peter Fatomilola, Fathia Balogun, Antar Laniyan and Yemi Shodimu, among others, Ireke delivers a compelling narrative that delves deep into Africa’s entanglement in the trans-atlantic slave trade and the legacy of resistance that followed.

    Set in the 18th century, the film captures the harrowing journey of a Nigerian family caught in the web of slavery, charting their descent from their homeland to Caribbean plantations. There, the enslaved Africans would rise in rebellion, a historical uprising that birthed the Maroons, a community of self-liberated slaves whose fierce resistance forced a truce and contributed to the eventual end of slavery in the Caribbean.

    Speaking about the film’s significance, Macjob emphasized the importance of owning the African narrative.

    “The slave theme is not new, but every single slave movie we have watched was made in Hollywood,” he said.

    “The time has come for us to be the ones telling our stories. The fact that this story centers around the heroics of our ancestors is exactly why I, as a journalist and storyteller, had to bring it to life.”

    Macjob added that Ireke reopens essential historical conversations, especially among Africans and their diasporic counterparts in the Caribbean and across the globe.

    “These were slaves who collaborated and found victory through unity. Our history shows we are stronger together than apart,” he noted.

    “The film doesn’t shy away from the complexity of African participation in the slave trade. It explores the economic motivations, such as the sugarcane plantation boom that contributed to internal collaboration in the transatlantic tragedy.

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    But ultimately, Ireke is a tale of triumph, rebellion and cultural reckoning, Macjob said.

    After debuting at the 2025 Cannes Film Festival making it the first Nigerian local language film to premiere at the prestigious event, Ireke has already garnered international attention and critical acclaim. It has opened up renewed global conversations on shared histories, particularly between nations in the Global South and audiences in the Global North.

    Marking several firsts, the film will be released simultaneously in over 100 cinemas across Nigeria, the UK, Ghana, Benin and Austria, a feat previously unmatched by any Nigerian production. Adding to its accolades, Ireke has also secured an exclusive distribution deal with Europe’s largest cinema chain, Odeon, becoming the first Nigerian movie to achieve this milestone.

    As July 25 draws near, Ireke: Rise of the Maroons stands not just as a movie release, but as a cultural moment, a bold reclamation of African history, identity and voice.