Category: Arts & Life

  • Time out with soldier poet

    Time out with soldier poet

    Title: Time Out With The Bard

    Author: Oladele Babajamu

    Reviewer: Edozie Udeze

    TIME out with the Bard is one of Oladele Babajamu’s wittiest collections. As a soldier, Colonel Oladele Babajamu (rtd) who has traversed the length and breadth of Nigeria, more so, other parts of the world has enough experiences and exposures to explore in his poems. This collection which was a tribute he wrote for his birthday many years back has a lot of lessons about human existence, the society and the people themselves. The poems are not just simple, they are full of satires, inuendoes, emotional interactions, eerily perceptive and prophetic with timeless lessons about the world and the people who inhabit it.

    The collection has poems that represent the wide range of human experience in contemporary Nigeria. The poems therefore force you to read them, think, smile or frown your face. They induce you also to scratch your head, meditate and probably scream about the many and diverse issues that define the worldview of people and what they live with day in day out. In order to represent the issues in a way to penetrate souls, cause some spark, move people to obsession, grief or ecstasy, he divided the poems into sections. Each section has a thought-provoking theme that creates powerful renditions or stories that thrill with significant addiction. In the section titled Musing, for instance, he offers some witty ideas that set the soul racing and searching for the real meaning of life itself, the purpose of the poetic man on earth.

    Babajamu combines seriousness with unseriousness to achieve poetic muse heightened by bliss that appeal to readers, that also permeate time and space. Yes, the title is The Witty Poet and he says: “pregnant with complete thoughts/and plenty ink in the pot/may your ink never blurt/so the word does not/die in your heart of hearts/causing your readers sweet hurt/may your pen never blot/when idea strikes your heart/so your brain does not wroth/and circumstances dampen your spirit/cos it is not always right”.

    That is why a writer, a poet operates like a spirit. His ideas never cease to arouse or amaze the world. As a writer, a poet of many years standing for that matter and a retired colonel of the Nigerian Army, Babajamu has immersed himself with enough poetic arsenal to pierce the heart of the world via his works. Also, in Timeout with the Bard, he muses thus: “may your books be read at home and abroad/like sweet perfume spread/and add colour to lives at the end/like the rainbow after Noah’s flood”. And so in ‘I wish’, he offers renewed hopes to those who can read his poems and help his craft to grow, prosper and make him become a bigger bard. As a poet, a gifted bard, Babajamu thrives in hopes and wishes and this has been of help to him ever since.

    In the section titled Minstrel, he offers poems on a variety of themes. These themes chronicle life’s exigencies across boundaries. In By the Waters in Benue River, for example, he says: “by the bank of River Benue,/sat the bed of our inexhaustible food basin/with tons and tons of untapped resources/there on willows we hung our hoes/with strength, courage and hope/at the blast of anger/…But there is fire on the Benue. It is where farmers on our own land eat our pounded yam. People there indeed drink from the waters of Benue.

    But he quickly adds, ‘let’s run run to the mountain/the author of life has the solution/only then can the fire seize/ and Benue shall weep no more’. Often, as a military man, the bard in Babajamu reflects more of force of fire, either fire of emotion, love or fire and force of power. It is all in the military drill and this force of energy and power. This truly defines the character of the poet and what runs in his inner mind. For him, water is life, life is water. Yet the audacity of the Almighty must always prevail.

    In section three captioned Forlorn, he settles on the thrills of harmattan. Now, “I looked out from the window/the harmattan has gone/gone with its dust of apprehension/a fresh breeze of life/blew into my room/the freshness of the day/… The earth shall remain forever in its fullness. The harshness or sweetness or softness of the season of harmattan, depending on how it blows in your area, makes it a welcome relief from heat and discomfort. As a bard, Babajamu celebrates this with aplomb, love and cheerfulness for the season of harmattan brings in plenty of harvest and human reproduction.

    It is when love is renewed, rekindled and reappraised. Even trees and plants and shrubs appear anew for the benefit of mankind.  There are other poems in this section such as This life, The World is tensed, the Chibock around the neck and more. In the Affairs of life section, you have Life’s picture, the alert of life, light my day, walk the passion, the bed of life and more. Yet in the Romance section, he brings true love to bear on the lines he renders. He is emotional and lovestruck as he remembers his love life in his tender years. The years when the love of his life swept him off his feet.

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    Titled My Wedding Day, he offers the lines thus: “wedding day/our D-day/day of decision/day of yes I do/by you and I/just moving to the port/for our passport/at the exit of courtship/it’s sunset/exposing the hidden treasures/ on our love part/… may our love never go bitter/like waters from bitter leaf”. A romantic soldier in words and deeds, Babajamu eulogises family virtues at the slightest opportunity. For him, love, true love anchored on trust and sincerity drive the home, illuminate the heart and set the world on a merry go round. As this title coincided with his birthday, it brings back to memory how he set out in those days to win the love of his heart himself.

    Yes, it is romance time, it is time to remember the bliss and funs of the wedding day, the honeymoon, the journey through time and age. Section six is Miscellaneous, so titled to address all problem areas that trouble a bard. What with   Echoes of the night. As day and night breed/darkness envelopes the earth fields/reflective lights fall on the world/… To the one, only the Holy Lord”. There are also other titles like New Dawn, Sowing The Seed, Sky Without Tanks and more.

    The last section is Elegy and odes, coming with the issue of unknown soldier. Unknown Soldier since time immemorial has not been discovered or resolved.  Perhaps this unknown soldier will remain anonymous until he dies again. This is why the poet asks in a rather sombre mood-How long shall you remain unknown? How did you get here alone? No soldier goeth to war/on his own accord”. Yet the Nigerian version of the unknown soldier seems to go to war yearly, and unaccompanied by anyone.

    That indeed is the mystery of this veteran and ubiquitous  unknown soldier that has been a sing-song in this clime in the past years. Maybe that is why also that the Anonymous in Babajamu’s representation says: “the forest was shrinking but the trees kept voting for the axe because it’s handle was made of wood and they thought it was one of them. Yes, this is a denouement, meant truly to remain anonymous in the mold of the anonymous unknown soldier in the unending Nigerian parlance and social milieu.

  • Onigbanjo experiments with narrative in abstractions and cartoons

    Onigbanjo experiments with narrative in abstractions and cartoons

    On his journey towards sustaining artistic  precision, Adetunji Onigbanjo makes passion from the complexity of abstraction and celebrates stylised figurative painting with cartoon touch, writes EDOZIE UDEZE.

    What Onigbanjo started as an experimental process, using pencil sketches, watercolours, and mixed media, has grown into a collection of artworks now regarded as collectibles by art connoisseurs and enthusiasts. Known also as the ‘Lawyartist’, he builds his creative practice around themes that reflect his roots, among other subjects.

    Abstraction remains one of the most nuanced genres in fine art and often tests an artist’s ability to communicate through form and symbolism. Onigbanjo’s Neon Series offers viewers an open, engaging experience of abstract art. The third installment in the series, Neon III, continues his exceptional use of lines and rhythmic visual expression. This piece features pen movements and linear motifs that create the illusion of a chrome-like surface—simultaneously fluid and metallic. The linework in Neon III is more refined and deliberate than in the earlier pieces, lending the work a greater sense of precision and structural clarity.

    Stepping away from abstraction, Onigbanjo takes a more philosophical approach in exploring gender through two thought-provoking paintings titled Okunrin and Obinrin. In Okunrin, he expands on the concept of masculinity, particularly within the African experience. The subject’s textured brown skin and cornrow hairstyle clearly affirm African identity, while a polka dot bow tie suggests formality, intelligence, and professionalism. These features are rendered with bold, expressive colours that deepen the narrative.

    The painting’s composition is intentionally asymmetrical. One eye is illustrated as a red, surreal, cartoon-like shape, while the other is anatomically detailed but painted in an unnatural yellow. This contrast seems designed to enhance visual cohesion across the canvas. The artist uses red, yellow, and blue not only for their visual impact but to unify the work’s diverse elements and forms.

    The cosmic dimension of the piece is further emphasized by the presence of a sun positioned on the viewer’s right side. Nearby, a chessboard-like element appears, placed near what could be interpreted as a symbolic temple—possibly referencing the mental agility and strategic thinking traditionally associated with chess. The visual complexity of Okunrin is enriched by layered symbols including a checkered flag, which may allude to the race of human existence. Other features such as a gold pyramid, vampire fangs, and a masked figure known as Mr. Kensho add additional narrative depth and playfulness to the artwork.

    In Obinrin, the female counterpart to Okunrin, Onigbanjo explores identity using vibrant, layered imagery that draws from animation and pop culture. The central figure reflects the playful aesthetic of popular cartoons such as Looney Tunes and Space Jam, while also incorporating symbolic, cultural, and personal references. The work resonates with a youthful energy through its use of bold primary colours and cartoon motifs, but beneath the surface lies a rich conceptual framework.

    The painting’s composition is grounded in primary colours, which not only attract attention but create visual balance and harmony. These colours provide a structured foundation for the artwork’s dynamic and kaleidoscopic elements. Recurring visual motifs link Obinrin with other works in the series, while also introducing new avenues for interpretation.

    Onigbanjo’s preference for cartoon-inspired and satirical imagery proves to be a powerful tool in his thematic storytelling. For example, the inclusion of rabbit teeth suggests childlike innocence. The carrot—an iconic cartoon element—takes on layered meaning, hinting at both rabbits and the word “carat,” thus seamlessly connecting to the diamond that follows. This sequence flows into green money bills, forming a symbolic chain that intertwines themes of innocence, wealth, and material desire.

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    For those who have seen Okunrin, there are familiar elements in Obinrin that establish a cosmic link between the two works. A Japanese-style sun reappears, this time partially eclipsed by the moon and surrounded by clouds. A digital verification badge is also included, introducing commentary on visibility, legitimacy, and the evolving intersection of identity and digital presence.

    Both Okunrin and Obinrin go beyond traditional portraiture, delving into the spiritual and philosophical dimensions of identity. Each painting offers a multifaceted view—merging representations of Black femininity, masculinity, joy, satire, and consumer culture within a single frame. Obinrin, in particular, continues Onigbanjo’s dynamic artistic approach, where visual playfulness is deeply intentional and every symbol contributes to a broader reflection on the fluid and performative nature of modern identity.

    Onigbanjo is also actively involved in the professional art community. He is a member and mentee of the Visual Artists Association, a resident artist with Modern Painters New Decorators, and an associate artist at Izwi Art.

  • When cartoonists gathered in Lagos

    When cartoonists gathered in Lagos

    There is fun, great fun for that matter in being an artist. It is even much greater when you are a cartoonist, a cartoonist in one of the major national newspapers around Lagos. And you are equally conscious of the fact that you use your artistic impressions, cartoons, caricatures and illustrations to control and shake and stir the conscience of the society. It is much more impressive when a particular event or show now brings all of them together in one fell swoop.

    This was the situation recently when the Cartoonists Association of Nigeria organized a birthday bash for one of their own in the person of Professor Dele Jegede. Jegede turned 80 in April, but due to the nature of their official duties, the association could only organize the celebration in June. The celebration, as expected, came with a week-long art exhibition which took place at Didi Museum in Lagos. It was a flurry of cartoons, caricatures and more.

    But the most striking thing was that nearly all the cartoon editors of some major newspapers in Lagos were there. It was a grand moment. It was pleasant to see them in their best elements, showing love, beaming with smiles and going round the gallery to view the works on display. They showed heavy appreciation as they smiled at their own works and the troubles they cause with their cartoons every day. In fact, the glow on their faces proved it.

    The cartoons were everywhere, distilling Nigeria’s problems. Their signatures and brands spoke to the viewers and art collectors. The cartoons tackled varieties of problems and those behind the problems. Most of them did not spare Nigerian leaders. They did not even spare Jegede. They made various caricatures of the man they all said was the pioneer of their calling. Jegede also taught some of them in school. Albert Ohams of The Sun Newspapers was there in his full epitome. His works were visibly seen in all nooks and corners of the hall. He beamed with satisfaction about the way the exhibition turned out. ‘This is good’, he kept saying.

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    Dada Adekola, the Mr and Mrs grandmaster of The Vanguard Newspapers who is the president of the association was also in the house. His face wore shimmers of positive mischief. His idea hovered more on how to snigger on men and women in the hall to produce more satires on Mr and Mrs. He too paid glowing tribute to Jegede, this great artist, cartoonist, teacher, scholar, impressionist and sculptor. So also, was Mike Asukwo of Business Day Newspaper who came in bristling with joy. Many of his political satires were on display. Asukwo knows how to unleash attacks on leaders through his works.

    Some of Asukwo’s works in the exhibition were hard on politicians and their misdeeds. He was all smiles as he strolled round viewing and entertaining banters with his colleagues and friends. Chino Obasi formally of The Guardian Newspaper was also present. He was the Master of Ceremony. He is now in a bigger advert agency where he still uses brushes and colours to deal with issues. With him was Victor Asowata, a deep artist that paints with precision. What of Leke Moses, and others like Adebayo Adegbenro, Chuks Onwudinjo, Jimoh Samsideen, Morak Oguntade and others? They were all there and their works littered the exhibition.

    But the most amazing aspect of the opening ceremony was the presence of three foremost and great master artists in Nigeria – Professor Bruce Onobrakpeya, Dr. Kunle Filani and Dr Kolade Oshinowo. They added beauty and class to the outing. After all they are all friends and colleagues of the celebrator.

  • How Nigerian Idol throws up talents

    How Nigerian Idol throws up talents

    As the newly crowned Nigerian Idol, Purp, walked home on Sunday with a rewarding package that included a brand new SUV, N30m cash prize, DStv Explora with a one year premium subscription and a chance to become Nigeria’s next big music star with a music deal, she is not resting on her oars. On Monday, she shared her experiences at the 10-week music talent show with some journalists in Lagos. With her at the briefing, was her runner-up Raymu. Venue was the Corporate Headquarters of Rite Foods Limited, Ikeja Lagos, one of the leading sponsors of the musical contest. Assistant Editor (Arts) OZOLUA UHAKHEME was there.

    “This moment feels surreal. I’m so grateful to everyone who voted, supported, and believed in me. This is just the beginning, and I can’t wait to share more music with the world.”  With that emotional reaction from Purp shortly after emerging the Nigerian Idol Season 10 winner, last Sunday, it was evident that Nigerian fans and voters in particular, might have made the right choice at the end of the show. Nigerian Idol, a hit music talent show started on April 20, with the theme, “Your Voice, Your Victory featuring 10 contestants.

    Purp, a Theater Art graduate of Obafemi Awolowo University, Ile Ife, did not go into the musical contest as a singer, but as a total artiste who is an embodiment of every aspect of performing art-music, singing and drama. According to her, she had few areas she fine-tuned while the show lasted, especially the use of new tech on stage and the realisation that beyond the physical stage, there were audiences at home and online.

    The young singer, who showered accolades on the Bigi Carbonated Soft Drink brand of Rite Foods Limited, applauded the company and Bigi for powering a credible platform that has brought her to fame.            

    She commended Bigi for promoting musical talent among young Nigerians who are determined to become stars in the entertainment industry, with the sponsorship of Nigerian Idol for five consecutive years, from Seasons 6 to 10.

    The 25-year-old, Lagos-born Anu Agosa (Purp), who was raised by a choir-leading mother and nurtured in the rich harmonies of church music, stated that her love for sound took root early, blossoming fully in the world of theatre.

    She disclosed that prior to the show she was a shy and naïve girl, who was not too sure of what she wanted in the entertainment industry. She described the Nigerian Idols and the sponsors as huge partnership and platform for creative to actualise their dreams and grow in the industry. 

    “I literarily started off as a naive, shy girl, who didn’t know what she wanted to do, who didnt know how to discover who she is, what she wanted to do and what she wanted to inspire in the world. For me, the platform is just a journey of rediscovering who I am going to be and who I am going to inspire in the world. Again, it is about how I am going to channel my talents and artistry,” she said. 

    Purp noted that the caliber of audience that cheered her up all through the contest could relate with her story. “The kind of people that watched me on the show resonates with my story as a person, it wasn’t just about my singing it was about my story. And without the platform, I wouldn’t have been able to do it. That, for me, was amazing,” she added.

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    Continuing, she recalled: “I had experiences and people reached out to me, saying, you inspired me, just beyond your singing, your person, your gift, and your career, and everything that you’re doing. All this carries a level of grace that I can relate to. And for me, that was the most important thing, and I’m so grateful that I have the platform to reach out to students, to talk to people beyond just notes and skills.”

    Purp, who captivated millions of viewers across Nigeria and beyond with her vocal brilliance, emotive performances, and unrelenting drive, stated that with willpower, she would pursue her musical career to become a renowned megastar in the entertainment industry.

    “I am excited to be the winner of the Idol show and the exposure from it has enhanced my art of singing and performance. Emerging as the winner came as a surprise, though I have always put in my best to outwit others, and l laud Bigi for the opportunity offered to me to have come to this extent,” Purp averred.

    While encouraging the winner to be well committed to her musical cause, Rite Foods’ Managing Director, Seleem Adegunwa, asserted that the company identifies with worthy initiatives that resonate with its core values of excellence and innovation which helps in making dreams of its consumers come to fruition, like the Nigerian Idol show that exposes young singers to limelight.

    He admonished Purp to sustain the tempo which she showcased throughout the show, that has brought her that far to winning the Season 10 Idol prize, which comprises a brand-new SUV, N30m cash prize, a DStv Explora with a one-year premium subscription and a chance to become Nigeria’s next big music star with a music deal.

    Adegunwa stated that as a company that reinvigorates its consumers to attain stardom, as it did with the Nigerian Idol show, Rite Foods is poised to support Nigerians to achieve success in their undertakings, and would extend the same to Purp as she traverses the course of her musical career. “As a consumer-centric brand, Bigi will always continue to empower youth by creating platforms that celebrate originality, talent, and determination,” he affirmed.

    Unlike Purp, the runner up Raymu, a Delta-born sensational singer known for his stage craft, is a graduate of Engineering, but has a strong flair and passion for the art though not used to lots of things in the entertainment space. He is also an introvert who takes charge of his artistry as a performer and singer while managing the various dynamics that come with stage craft, singing and understanding camera movement. To him, emerging as a professional artiste has been an amazing transition from where he was to where he is now.

    He observed that talent is the cheapest commodity in the entertainment industry because talent is everywhere you look or you turn to. But, she noted that not everybody wants to put in the hard work, or has the character to transit from being a talented person to becoming a superstar because it takes a lot of hard work, a lot of discipline and determination to get there.

    “I see a lot of talented people and I respect everybody’s talent. Anybody amongst the top 10 could have won the show because we are all individually and equally talented in our different ways. But, there’s also a lot of work that goes on behind the scenes for the show and for me, some of them were in unfamiliar grounds. Like on the show, it was the first time I was dancing and singing. I almost passed out at some point. That was very challenging for me, but I was able to eventually get over it and understand the dynamics that goes with that.

    “So that’s a lesson for me to take out of the show. I also realised that being in an entertainment space you have to be mentally strong,” he said. 

    Reacting to what prepared him for the contest, he said: “Just like every educated person we study, do research, and learn about things. So, I did read about things and look for information and study about how things are supposed to go. I came into the show with some level of information on what the show is all about.

    Raymu described Nigerian Idol not as a destination, but the beginning of a journey, noting that whether any artiste wins or not, he should be grateful for the platform.  “For me, it’s a blessing, it’s a privilege to be on the platform as there’s so much work that goes on behind the scenes because everybody is working around you. These people don’t get to be seen, you get to be seen so you have to pay homage to them and respect their hard work by making something out of what you’ve been given.”

    Raymu however urged organisers of the contest to consider giving consolation prizes to top 10 in order to encourage young artistes. He stressed that not every artiste can handle the winner takes all situation emotionally. 

  • Moonlight Tales: Preserving the essence of oral narratives

    Moonlight Tales: Preserving the essence of oral narratives

    The nexus between our rich heritage and the day-to-day happenings in Nigeria form the fulcrum of Moonlight tales, an exhibition of paintings by Prof Chuu Krydz Ikwuemesi, one of Nigeria’s leading painters and senior lecturer at the University of Nigeria, Nsukka. With the body of works, Ikwuemesi shares his personal visions of happenings and experiences from the African and Nigerian realities as they relate to the society he lives in. This visual narrative touches on different aspects of our national life, ranging from politics to governance, economy, and judiciary. 

    Ikwuemesi uses works in Moonlight Tales as a visual storytelling with a tinge of advocacy using art to engage both communities and policymakers. Beyond capturing and perhaps reframing some images and scenes, the artist creatively uses some imagery to reveal other critical cultural elements of each subject as well as the evolution of their growth. He did not only translate all this into a visual poetry, he also made his canvases to serve as portals, inviting the viewer to step into a realm ‘where crimson skies meet golden dreams, where the timeless wisdom of the elders converges with the vibrant expression of contemporary artistry.’

    Moonlight Tales supported by Ini Gallery, was held in Africa Centre, London between February 17 and March 12 and featured works such as Dreamers dream, And the spirit of COVID hovered around our world, On the wings of emotions, (abstract) Peace once lived here, And the elephants destroyed the village, An embroidery of contradictions, Hopes and impediments, Before our very eyes, Forward to the past, Love within, Kimbaveta holding her baby son, St. Jagaban carrying her sick child, All eyes on the judiciary, Windows in the sky, And music shall untune the sky, Justice-Liberty Fleeing the Land. 

    In the catalogue to the exhibition, Co-founder, Ini Gallery, Mr. Babatunde Olufon described each canvas in Moonlight Tales as a testament to the power of visual storytelling, a medium that transcends language barriers and invites the viewer to engage with the richness of African heritage. “Ikwuemesi’s masterful use of colour, texture, and composition weaves a tapestry of emotion, transporting the observer to a realm where the mystical and the mundane coexist in harmonious balance. The Moonlight Tales exhibition is not merely a display of artistic prowess; it is a celebration of the enduring vitality of African cultural traditions. Through Ikwuemesi’s brush, the ephemeral nature of oral narratives is given a tangible form, preserving the essence of these stories for generations to come. As the viewer explores the canvases, they are invited to embark on a journey of discovery, unearthing the timeless wisdom and profound beauty that lies at the heart of the African experience,” he added.

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    For the artist, the forms and content of the exhibition are not primarily borne out of his personal experiences, but a reflective of shared realities. “Hence the issues and concerns embodied in the present works may arise from my personal visions but they are not really personal to me; they are only reflective of shared realities seen through an artist’s eye and shared in sublimity very akin to that of moonlight tales. In their animated silences, the works draw from the vanishing tradition of my ancestors, the famed uli art once popular among Igbo women of Eastern Nigeria,” Ikwuemesi said.

    Moonlight Tales, though captures events and happenings in the society with relatable visual, it is also a mix bag of realism, semi abstract and abstract works. Paintings such as On the wings of emotions, Hopes and impediments, Windows in the sky among others stand out from the pack with their vibrant colours and lines. All these are abstract works. But, one very interesting painting is St. Jagaban carrying his sick child- a caricature of the state of the nation. The circular painting shows a man with an elongated neck holding a sick child, who looks skinny and emaciated in his green and white dress. The artist simply uses the painting to mirror the economic challenges many Nigerian are facing today.

    Ikwuemesi is a professor of Painting and African Art History at University of Nigeria, Nsukka where he has taught art, art history and theory since 1994. He was a Visiting Associate Professor at the National Museum of Ethnology, Osaka in 2008, and was Japan Foundation Fellow in Hokkaido, Japan in 2009.

  • Timeless Memories VIII honours Kongi

    Timeless Memories VIII honours Kongi

    As Nobel Laureate Prof Wole Soyinka marks his 91st birthday last Sunday, the 8th edition of the acclaimed Timeless Memories: Elastic Effects of Wole Soyinka project stands as a celebratory tribute to his extraordinary life, courage, and intellect. It will be part of activities at this year’s the Lagos Book and Art Festival (LABAF), holding between November 10 to 16, at Kongi’s Harvest Hall, Freedom Park, Lagos. This year’s edition bears the compelling theme: State Repression and Intellectual Defiance: Soyinka’s Struggle Against the  Abacha Regime (1993–1998).

    Between 1993 and 1998, Nigeria was gripped by the iron rule of General Sani Abacha—a regime notorious for its suppression of civil liberties and violent crackdown on dissent. In this period of political darkness, Soyinka emerged as an unwavering symbol of resistance, risking exile, assassination, and constant surveillance in his outspoken fight for democracy and justice.

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    Timeless Memories VIII documents this era through an immersive, multi-layered experience that reinterprets Soyinka’s courage and commitment to truth. It features a powerful documentary, Shadow and Silence: Soyinka vs Abacha, with exclusive interviews, dramatized reconstructions, and rare archival footage. The exhibition includes evocative installations such as “The Safe House,” “Wanted Wall,” interactive escape route maps, an “Assassination Diary,” and a “Resistance Radio” audio experience. A graphic art book, The Man Who Wouldn’t Bow, illustrated by Nigerian artists, will make Soyinka’s story accessible to a new generation.

    This edition is curated by Dr.Oludamola Adebowale, the renowned archivist and curator who began the Timeless Memories project eight years ago as his unique tribute to Soyinka. Through immersive exhibitions and installations, he has explored the vast body of Soyinka’s work, documenting his legacy with curatorial depth and innovation. With each edition, Dr. Adebowale has reimagined the “Wole Soyinka” narrative, preserving it as a living archive of resilience and brilliance.

    Timeless Memories VIII is not just an exhibition—it is a powerful homage to a towering figure at 91 whose voice still echoes with urgency. It reminds us that ideas outlive bullets, and that the spirit of resistance, once ignited, never dies.

  • Kelani’s latest movie Cordelia hits cinema

    Kelani’s latest movie Cordelia hits cinema

    After three years of waiting and palpable uncertainty about its fate, Cordelia, the latest filmic signature of ace filmmaker, Tunde Kelani (aka TK), is now ready for public release. The film will hit the cinema on July 18, according to the foremost filmmaker. Cordelia, an adaptation of Femi Osofisan’s novella of the same title, is a period drama set in Nigeria in the early 90s during the years of military rule.

    “After three years of hard work, resilience, and faith, Cordelia is finally ready for cinema audiences. This is not just the release of a film—it is the celebration of a journey; a journey that began with a powerful story on the page and comes alive on nationwide cinema distribution by FilmOne from July 18,” Kelani said.

    Adapted from the novella of same title by the famous playwright, Femi Osofisan, Cordelia’s screen play is written by Bunmi Ajiboye, and di-rected and produced by Kelani, while Tayo Oladimeji and Kunle Adebiyi are executive producers.

    Continuing,  Kelani added: “Cordelia is a film about silence. About the unspoken damage of power, and the quiet suffering of those who live in the shadows of history. It is a political story, yes — but it is also deeply personal. It holds a mirror to the fractures in our society and the fragility within the family when truth is suppressed.”

    The film stars a coterie of super performers in the Nigeria film circuit, such as: Omowunmi Dada (Cordelia) William Benson (Adekunle) Yvonne Jegede (Remi) Keppy Ekpeyong (Colonel Nwanze) Kelechi Udegbe (Major Kawale), and others.

    Top on the crew list are: Femi Osofisan (Writer) Bunmi Ajiboye (Screenplay) Adekunle Adejuyigbe (Director of Photograph) Bola Belo {Head of Production) Tunde Kelani (Producer/Director) Jide Bello (As-sociate Producer) Seun Alli (Associate Producer). Kunle Adebiyi and Tayo Oladimeji are Executive Producers.

    Giving the logline of the film in an earlier promo sheet for the project, Kelani wrote: “Amid the chaos of a violent campus uprising and a de-ceptive military coup, a disillusioned university professor shelters a wounded student—unaware she is the daughter of a wrongly accused coup puppet. As danger closes in, personal and national truths unravel, forcing him to choose between safety, justice, and his conscience.

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    When a military coup shakes Nigeria’s fragile democracy, university students erupt in protest— and Cordelia Nwanze-Peters, daughter of the man believed to have led the coup, is violently attacked. Rescued by her friend Stella, she finds refuge with Professor Adekunle Benson, a weary academic trapped in a loveless marriage. As tensions rise, Adekunle pro-tects Cordelia — unaware that the real coup was orchestrated by Major Kawale, who used Cordelia’s father, Colonel Nwanze, as a puppet. When the truth comes out, Nwanze escapes captivity and foils the coup, but Cordelia remains a target. Hunted by soldiers and betrayed by those closest to him, Adekunle must risk everything to shield Cordelia. In a powerful climax, Cordelia bravely faces her persecutor, and justice is re-stored.
Cordelia is a gripping tale of courage, conscience, and redemp-tion set against a nation in turmoil.

    At a recent media parley, Kelani, also director and producer of such eminent films as Saworoide, Thunderbolt, Agogo Ewo, White Handkerchief, Maami, Kosegbe, Sidi Ilujinle and others, stated: “At the heart of Cor-delia is a literary work by one of our greatest writers, Prof Femi Osofisan. His novel provided the foundation— a layered, compelling narrative that we were honoured to adapt for cinema. This is a reminder of the critical bond between African literature and African film.

    “Our written stories — alongside oral traditions, folklore, and lived ex-periences — are part of our intangible heritage. When we adapt them to film, we are not just entertaining — we are preserving, interpreting, and passing on culture. This is what makes our cinema deeply authentic, and what sets African storytelling apart.

    “…when power changes hands by force — when there is a military coup or a natural disaster caused by years of neglect — it is not the powerful who suffer first. It is the innocent. Ordinary families are torn apart. Children are displaced. Parents are silenced or disappeared. The people caught in the crossfire are those simply trying to live, to raise their families, and to survive.  Cordelia gives voice to those quiet victims—the ones history books often forget.

    “And one of the most moving aspects of this film—what binds it emo-tionally—is the music. 

    “The original score was composed by the talented Michael Ogunlade. But it reached new creative heights through a unique collaboration: the Music Department of the University of Delaware in the USA, under the leadership of Professor Anderson, arranged, orchestrated, and scored the film in a project titled Cultural Fusion.

    On the context of the film as a template for cultural understanding, Kelani offers: “This collaboration between continents, between cultures, between traditions and techniques — represents exactly what Cordelia stands for. It is a creative dialogue. A meeting point between African stories and global craftsmanship. And it shows what is possible when we open our doors to collaboration while staying true to our roots.”

    “For me, Cordelia is not the end, but a new beginning—marking the start of a fresh chapter filled with entertaining, thought-provoking, and culturally grounded films that will continue to complement my decades-long journey in African cinema.”

  • Ibadan to hold 7th Young Artists Art Hub competition

    Ibadan to hold 7th Young Artists Art Hub competition

    The ancient city of Ibadan is set to host the 7th Edition of the Young Artists Art Hub School Competition in collaboration with the National Museum of Unity, Aleshinloye, Ibadan.

    The annual event, convened by Afro-Brazilian and award-winning female artist Olaide Turner-Moyet, will feature 20 public and private secondary schools from across Ibadan competing in visual arts, music, dance, poetry, crafts, and oratory.

    Speaking with journalists, Turner-Moyet said the event is aimed at promoting cultural pride and artistic excellence among the youth. She described the competition as a platform for cultural renaissance and a celebration of African identity.

    Dignitaries expected at the event include Oyo State Commissioner for Education, Science and Technology, Hon. Segun Olayiwola; Commissioner for Culture and Tourism, Dr. Wasiu Olatunbosun; and Mrs. Oriyomi Pamela Otuka, Zonal Director (South West) and Curator of the National Museum of Unity.

    READ ALSO: Aiyedatiwa assigns portfolios to newly sworn-in Ondo commissioners

    Renowned artist and professor, Chief Tunde Odunlade, will chair the event, while Ibadan-based painter Mr. Omofemi Oluwole will be honoured as Artist of the Day. The programme will be anchored by media personality and Prince 89.7FM correspondent, Olawale Ogunbusola.

    Turner-Moyet reaffirmed that the initiative is about encouraging students to take pride in their African heritage and creativity, saying, “The whole idea is to celebrate Africanness—being Black, being proud.”

    “Music, drama, poetry, crafts, these are not just art forms for entertainment only, they are vessels of our identity. This initiative is a continuum of ancestral tools for expressing and appreciating life.”

    She explained that the initiative has been a decade in the making, aiming to instil cultural pride and continuity through creative expression.

    She noted the essence of socialisation, networking and appreciating innateness, adding that the event will greatly help support student participants’ exposure and social networking beyond physical contacts.

    The Young Artists Arthub Competition continues to stand as a beacon of cultural education, innovation, and creative growth for the youth of Ibadan and beyond.

  • Taanwa designs is not just for Nigerians in the UK — Tosin Ologun clarifies

    Taanwa designs is not just for Nigerians in the UK — Tosin Ologun clarifies

    In the wake of recent social media buzz surrounding her brand’s rebranding and expansion into international markets, Tosin Kehinde Ologun, CEO of Taanwa, has clarified that her fashion label is intentionally crafted to serve a diverse, global clientele, not just exclusively for Nigerians living in Nigeria or the diaspora.

    The rebranding of her fashion house, formerly known as “Omotola Official,” to “Taanwa” (meaning “Sought after” in Yoruba) has sparked mixed reactions across social media platforms.

    While some followers expressed concerns about her shifting focus away from the Nigerian market, Tosin Ologun emphasises that her mission remains rooted in celebrating African heritage while embracing a broad international audience.

    “I am expanding, not just rebranding,” Tosin explained in an exclusive interview with Great Unicorn TV. “Our brand has grown from being a local label in Abuja to a global fashion entity. We saw the need to serve our UK clients with the same high-quality, made-in-Nigeria fabrics but not just for Nigerians in the diaspora, but for anyone who loves our prints, designs, and the impeccable fit that Taanwa offers.”

    She further elaborated on the brand’s inclusive vision: “Our designs are for everyone. Africans, Europeans, Asians, and anyone who appreciates African aesthetics and craftsmanship. Taanwa is about sharing our culture with the world, and that means we’re open to all races who admire our art and style.”

    Tosin Ologun’s journey from Nigeria to London embodies her dedication to transforming African fashion into a global statement. Her passion ignited during her secondary school days in Nigeria, where she started experimenting with local fabrics, making bags that reflected her love for traditional textiles. Recognising the importance of formal training, she enrolled as an apprentice in 2016, honing her craft and learning garment construction, sketching, and design illustration.

    In 2019, she launched her brand under the name “Omotola Official” in Abuja, specialising in bridalwear, formal attire, and Afro-contemporary designs. Her meticulous craftsmanship and storytelling through fashion drew clients from diverse backgrounds, establishing her reputation as a designer who seamlessly blends tradition with modernity.

    The move to London marked a pivotal moment. Tosin observed a growing international demand for her designs, prompting her to rebrand to Taanwa, symbolising “what we’ve been seeking” in Yoruba. This new identity underscores her commitment to producing culturally rich, high-quality pieces that elevate African artistry on the global stage.

    Read Also: ASUU strike: Students lament lost opportunities

    Today, Taanwa is registered and thriving in both Nigeria and the UK, with a fast-growing presence in London’s fashion scene. The brand’s collections reflect a combination of African aesthetics and contemporary elegance, appealing to a diverse, international client base.

    Tosin Kehinde Ologun’s vision extends beyond ordinary fashion but it’s about cultural empowerment and the art of storytelling. “We want to showcase African heritage in a way that resonates globally,” she said. “At Taanwa, our fabrics, designs, and fits are not just for Nigerians in the UK; they’re for anyone who appreciates authentic, high-quality African fashion.”

    Tosin’s journey from a young girl experimenting with fabrics in Nigeria to an influential fashion entrepreneur in London offers a powerful narrative of cultural pride, resilience, and innovation. Her brand, Taanwa, continues to inspire emerging designers to honour their roots while embracing worldwide markets.

  • Ololade offers laurels of smelly gods

    Ololade offers laurels of smelly gods

    Title: Of Gods and Their Claytoys

    Author: Olatunji Ololade

    Publishers: Fabled Muse, Lagos

    Year of Publication: 2025

    Reviewer: Edozie Udeze

    Only the bird that fears the hunter’s bullets gets to live long” she would say. “You are the only one I have. Remilekun, I have no other person in this world. Do not be my source of pain. God gave you to me to wipe away my tears. That is why I named you Remilekun. Let those who are protesting continue with their protests. You will stay at home with me to pray for their safety and the country’s wellbeing”, she said. (pg 113)

    With this, Olatunji Ololade has opened up to the world one of the hottest and most thrilling tales of all times. This sensational novel titled Of gods and their claytoys, has shown Ololade as a fabulous and fantastic storyteller. Pronto, he uses his profession, the journalism profession to let the world into the inanities, frills, and thrills, highs and lows, sweetness and bitterness, betrayals and trusts and all that to define the practice of this Fourth Estate of the Realm. It is a strong story, very instructive and it beckons for attention.

    Born into abject poverty and almost depraved and deprived and raised by a mother, Remilekun Balogun is the typical story of a man who tries to find his level in a tortuous, thorny and wicked world. Ololade uses Remi and his harsh background to showcase and mirror a child born without any hope. But this child rises surprisingly to the pinnacle of his profession. However that is not even the major contour of this narrative that sinks and emboldens you as you read it. It is the story of Nigeria. It is the story of journalism practice in this clime, a profession which has been thrown to the dogs. It is a noble profession that has been so debased and torn apart by those who are its gatekeepers, those who pay the piper. And those who incidentally dictate the tune and order the pace.

    The fact is that as a fabulous and wonderful storyteller, Ololade uses his own involvement in the profession to tear at the heart of the matter. He leaves no stone unturned, in fact he ended up upturning all the stones. Remi takes off well as a reporter. Well into the profession, almost at the peak of it he chooses to go into investigative journalism as a pro. This he does well, he does effortlessly without recourse to the dangers and envies that await him. In the newsroom his colleagues suddenly become his primary enemies, prying into his joys and denigrating his achievements in order to bring him down. Remi Balogun is solid, nonetheless. He is strong-willed, believing in the practice of journalism at its highest height. Even when his own curiosity has suddenly put him in a precarious circumstance, he is still bent on discharging and pursuing his duties most excellently.

    His attitude to it all, could be likened to what Paul’s critics told him in the Bible. Your knowledge and inquisition will drive you mad. And truly Remi’s ‘too know’, and too much exposure and strong headedness almost drove him to the labyrinths of destruction. But this is also the thrust and the crust of this story told in very brazen, powerful and articulate style with no holds barred. In it the world sees the habits and behaviours of most people in the highest level of their profession. Ololade makes the arena stink and ooze odours of hate, bribery and corruption.

    Born without a father figure or someone who never knows the true origin of his background, Remi throttles between life and death in the hands of his lovely mother and also in the midst of terrible foes and sometimes affable pals in different locations and neighborhoods.

    The author uses Remi’s unfortunate childhood circumstance to push on ahead with his story. With Remi’s accidental meeting with the owner of The Sentinel Media organization, Remi equally and quickly situates himself for the huge and onerous tasks ahead.

    The story pushes up so many lessons of life. One, your background should not deter you from getting to the top. Two, there are unseen hands that can prop up destiny helpers in most uncouth circumstances. Remi falls within these categories. So the intentional narrative style by the author is to show how determination, resilience, and proper focus with the right people in tow can propel a willing mind on. Yet, Remi goes to the cliffs of it all, hanging precariously, pushing and stepping on toes. He bites the fingers that feed him in the process of this. He discountenances, snubs pieces of advice, distancing himself from such people.

    Read Also: Ololade Akintayo receives 2024 global recognition award

    Beyond that, he is a go-getter. He is audacious, incurably as curious as a pussy cat. But that curiosity leads him into the deeper foyers of government. His resilience and fearlessness lead him also into the core of government people and how they manage Nigeria. Ololade is tricky; he is a restless narrative expert who uses one stone to kill several birds. He utilizes the opportunity of this tale to zero closer and closer and even more profoundly into the workings of government. He reveals that it is a place where evil constantly prevails. He goes into the government houses, into the seat of power in Abuja and short of mentioning names to precision, thus making the story very interesting.

    While you read the story, whether you are strong willed or feeble minded the nuances in it can make you vomit or spit on the system, more so the leadership itself. As an author he spares no one. As an insight expert, given the total revelation of whatever he sees or encounters in the pursuit and discharge of his calling, Ololade is a pro here. He tells a story of how a man’s insatiable penchant for the opposite sex can lead, easily so, to his perdition. Here Remi encounters so many Delilah’s and Jezebels. He could not escape the wife of Potiphar. He shows that it is not wise to trust too soon, throwing all cautions overboard.

    He shows that as much as you know too much as a reporter, do not use so to endanger yourself and others. When you do so, sometimes you run into the hands of enemies or predators who want to use you in a very lugubrious way. A well told story, the author is incisive, he is a fabulous creator of circumstances that embellish a story. He penetrates the innermost core of government in an unbelievable way. He cleverly maneuvres through the precincts of political party leadership in Nigeria.

    In all, he tells the events with ease; he reveals more than the reader can stomach and then he begins in earnest to force you to think about a revolution. This story can conveniently lead to that. Now here is a teaser; “Remi peed and defecated all over himself. The guttural noise of Ndoli-Edet’s (Charman of the ruling party) laughter clanged demonically in his ears, settling like shards of eyes in his bones. Immediately he saw Remi dripping with urine and perceived the stench of his excrement, he laughed louder, croaking to an interminate pitch. In Ndoli-Edet’s political maniac eyes, Remi saw the dreams of the Nigerian political class glimmer with treacherous intensity. He saw what extremes a man was willing to go and the boundaries he was willing to breach to acquire power”.

    He goes on still, describing the ugly habit of someone entrusted with so much on behalf of others. “He saw the consequences of speaking the truth at least in his version of the relative truth, manifest like a sinister eclipse to a brighter tomorrow. He saw too, in profound horror, the beautiful cast of statesmanship he once idealized and fell in love with, contradicting the depravity that unfolded before him. Ndoli-Edet was a vulture that personified the nucleus of Nigeria’s most grievous malady. Remi saw him in true element, a rapacious bulk of all that is nauseating and unforgivable in the nation’s political class. (pg 255)

    In order to make this story stick and stink till the end, the author adopts two styles -first person and second person narrative methods. Putting the story in different styles about the life of Remi, Ololade thus breaks the monotony. He also brings people into the beauty of the story, and what it portends for Remi, detailing his childhood and adulthood in breezy and fast storytelling style. This helps to heighten and enhance the suspense and inadvertently curry for sympathy for Remi and his mother.

    Ololade tells the story of his loss of his mother with professional encumbrances and uncontrolled sympathy. It evokes, it touches, it breeds deep-rooted agony. The story places a huge question mark on the social malaise that rules the nation, bus and taxi drivers inclusive. He brings Remi to the points of grace to grass, from the highest point of his profession into the abyss. Yet he presents him as someone who never gives up easily. As he leaves the print media to the electronic media, Remi’s once more gathers his momentum. But this time, he is more cautious to face the new dawn in his life. He believes that one day he will revisit the scenes of his childhood and the circumstances of his birth to produce more stories.

    In all, the author does not forget to remind Nigeria that the sentiments of hate, bigotry and others across ethnic lines portends evil for all. But what if the country divides into four -South-south, South-east, South-west and the North? How does this sound even if the book is a fiction. But it is also a faction because most realities of the nation are fictionalized. One should not forget that authors and most creative people are prophets.

    Sometimes in the middle of the night when they write, they only see angels and spirits that foretell them what happens in the realm. Ololade may have encountered these unseen powers in the process of writing this book. Anyway this is a fat narrative offering of 326 pages, well spiced for easy reading. Yet a few minor typos and other errors must be corrected in the next edition.

    This book can serve as a Literature book, a History or Sociology or Political book of Philosophy if well harnessed. A possible award winning offering, Ololade himself is an Associate Editor with The Nation Newspapers, Lagos, where he has won several media awards specializing in investigative journalism where insight is his forte.