Just a few weeks after its recent release on Amazon, ‘Today Hammer Point Reloaded Volume 1&2’, the new book by Nigerian-born, Germany-based motivational speaker and writer Dr. Anastasia Fechner, is being acclaimed for making waves.
The book, described as a masterpiece unveiled to unlock the power of God’s word, is also noted as a transformative spiritual guide designed to help the reader break free from obstacles, overcome life’s challenges, and live with purpose.
Fechner, known to her numerous fans as Apostle of love, has over ten books to her credit including ‘Precious Daily Vitamins,’ ‘The Pains And Gains of Anointing,’ ‘Your True Value Is Inestimable,’ etc, is also the convener of the now very popular Love integration Conference and awards; an event that attracts singles and married couples and their families including couples in interracial marriages across Germany and the entire EU in general.
Those who have read ‘Today Hammer Point Reloaded 1&2 ‘ note that each page delivers powerful daily principles that serve as spiritual tools to renew your mind, strengthen your faith, and guide you towards a fulfilling life on a daily basis.
Speaking from her base in Germersheim, Germany, as she puts together 2025 edition of Love integration Conference and Awards in Karlsruhe, Germany July 5, the relationship coach and graduate of Mass Communication from Olabisi Onabanjo University who has gone on to study at world renowned Christian schools hinted that her new book, ‘Today Hammer Point reloaded 1&2’ “is more than just inspiration—it’s a powerful force that will help you confront life with unwavering courage, clarity, and resilience.
“Let the hammer of God’s Word shape your journey and ignite lasting change today.”
Her other books are: ‘Dare To Love,’ ‘The Spirit Within,’ ‘The Awesome Of A Virtuous Woman.’
She also pointed out that her main goal is to empower the reader to realise their full potential and become their best selves.
Throughout last week, the Cartoonists Association of Nigeria, mounted an elaborate art exhibition of cartoons, illustrations, paintings, drawings, caricatures, all, in honour of Professor Dele Jegede as he marked his 80th birthday. Jegede was once a cartoonist with the Daily Times of Nigeria. A master artist, he is also a sculptor, painter, scholar and illustrator. He is now in the United States of America where he teaches Fine Arts. As one of the pioneer cartoonists in Nigeria, he is keen on the affairs of the association as its patron. EDOZIE UDEZE was at the opening ceremony of the exhibition at Didi Museum, Lagos.
A life well drawn: an art exhibition, celebrating Professor Dele Jegede, was the title of the one week exhibition mounted at the Didi Museum, Lagos. The show was organized by the Cartoonists Association of Nigeria to celebrate a fellow artist, painter, scholar, sculptor and cartoonist, albeit, a senior colleague who was a cartoonist many years ago. Professor Dele Jegede, who was a former cartoonist with the Daily Times of Nigeria turned 80 years in April. But due to the tight schedule of the Cartoonists Association that usually celebrates him every year, the celebration was shifted to June. The opening ceremony was a very cheerful moment, made more robust by the presence of almost all the newspaper cartoonists and editors in Lagos.
Everywhere you looked you saw the signature of this highly revered and respected cartoonists who make people laugh or frown or hiss daily with the way they condense Nigeria’s problems into caricature. The works were curated by Patrick Odinfe. Odinfe is one of the best curators in the sector. There were over fifty different illustrations impressions, paintings, drawings and cartoons, all dwelling on the different problem areas of Nigeria. Indeed the hall was breathing with laughter as the cartoonists and other guests bristled around, viewing the works and hugging one another. You could see for sure that the cartoons are brazen, bold, audacious and efficacious in the way they celebrate situations. The caricatures in which Jegede is made to appear different littered everywhere. They made him in a way to look like a czar, the godfather of cartoons. For, to them Jegede is a true master of the art. He taught some of them visual arts at the Yaba College of Technology from where he finally relocated to the United State of America.
However, Jegede himself could not turn up in person. He was said to be very busy with other immediate works in the U.S. This and other issues kept him away from Nigeria. But he sent three of his closest friends and fellow senior masters of the Art to stand in for him. They were Professor Bruce Onobrakpeya, Doctors Kolade Osinowo and Kunle Filani. These three spoke eloquently about their younger days with him when he was very much around in Nigeria. “Truly, Jegede is a very busy person”, Osinowo said. “He is also very meticulous. He knows everything that happens in Nigeria better than most of us here in the country. He follows events in Nigeria meticulously. He loves what is Nigeria. Even though he is far away from us, his heart, his soul and his whole being are here with us. This is why he said we should stand in for him”.
Osinowo and Jegede were colleagues at Yaba College of Technology in the years past and that was why he could tell so much about him. They were also fellow students at the famous Ahmadu Bello University, Zaria, Kaduna. As a matter of fact, they belonged to the same departmental students association where Jegede was a leading light of the association at a point. Osinowo said again, “Jegede has one of the best handwritings if not the best in the world. His handwriting is so legible that everyone can read him without stress. He takes his time to write. He makes it his duty to ensure that all the T’s are crossed, the I’s dotted properly. Where you see his handwriting, you see the beauty of fine art in it”.
Apart from being a creative person in and out, Jegede is also a sculptor, a great impressionistic artist who is at home with colours. He applies colours judiciously. He draws and illustrates with much precision and ease, the kind of ease that is associated with a master artist and a scholar who has come a long way indeed.
Dr. Kunle Filani, a former provost of the Federal College of Education, Abeokuta, who is also a master artist, described Jegede as a former colleague. “He is a seasoned scholar, artist and humanist. He is a master visual artist and well known as far as visual arts is concerned. We follow his footsteps as far as visual arts is concerned. You can see the high quality of his works everywhere. He is a perfectionist, always eager to do the best he can to produce outstanding works. You can also see some of his classical works here in this exhibition. He paints, he draws, he sculpts. I have known him for over forty years now. And one thing about him is his humility. You know attainments and achievements in life can make some people feel overbloated. Yet this is not for Jegede. He is humble, he is available to listen and to help where he can. He is approachable. He is also ready to impart on others”’
Filani said more, “he has kept on making progress, even at his old age. He has never relented, he has never slowed down. Sometimes we wonder where he gets his energy from. One thing about life is that no matter what you do, if there’s no element of humanity in you, your worth or work may not be complete. Jegede combines his profession with humanistic approach to things. This is why he is being celebrated. Imagine someone who has been in diaspora for almost forty years still in close touch with his people at home. And his colleagues, senior and junior, always deem it fit to celebrate, recognize and honour him. This is why we are here, for him. You can see all the cartoonists and other artists who have come to identify with him on his 80th birthday.
“Our respect for him goes beyond the quality of his works”, Filani said. He said again “Omoluabi , is the best way to describe him. Despite him being in diaspora he still keeps his ears and eyes close to his people, close to those whom he has mentored and those he is still mentoring. I am really happy to be here and to see that Nigerian cartoonist have maintained that same tempo and steam. Of course this was started years back and he too is a member of the cartoonist’s association. It does not like missing their programmes. He follows every bit of what they do here in Nigeria. This is why we are here today at his request. The other two eminent visual arts scholars are Onobrakpeya and Osinowo. So it is an honour for me to be here today to participate in his 80th birthday”
Albert Ohams of The Sun Newspapers also said “in the first place he was my teacher at Yaba College of Technology. I have been following his footsteps. I had always admired the way he cartooned, the strokes, and all while he was at the Daily Times. And I told myself I would be like him someday. And that is exactly what I am today, emulating his style and doing cartoons the way he taught me in school”
He nonetheless described him as one of the pioneers of cartooning in Nigeria. “He is one of those who modeled us in this profession. He is one of the foremost masters. He has indeed paved way for us to become what we are today. Therefore it is good to be here to honour him. He did a lot for Daily Times in those years. He is a renowned cartoonist, no doubt and he deserves to be celebrated. He is also one of our patrons. He is a very brilliant and exceptional cartoonist who through his works made a lot of statements politically.
Up till today he still inspires us even though he is away in the United States where he still teaches Fine Arts”. Ohams is the group cartoon editor of The Sun newspapers.
Dada Adekola of the Vanguard newspapers who is also the president of the association had this to say, “our reason for doing this is to honour the man who opened the way for us. Professor Dele Jegede made cartooning popular in his days at the Daily Times alongside Jossy Ajiboye and others. You can see some of his works here and those we did in his honour all bearing clear testimonies to his professional acumen and dexterity overtime. A lot of materials are here now for him-cartoons, drawings, paintings, illustrations and all”. Adekola, group cartoon editor of the Vanguard newspapers had one outstanding painting in which he invoked Jegede as he was dancing to the beatings of two drums. A very classical and creative painting, Adekola said it was done because Jegede loves celebrations a lot. “He has seen this work and he loves it so much. Jegede is a mentor and so are other masters who are here today. However, cartoons have not been made so popular in Nigeria. This is so because they are limited to only newspapers and the print media. We want to see cartoons grow beyond that because through them we make lots and lots of statements”.
Present at the one week show were Chino Obasi, Victor Asowata, Mike Asukwo, Jahman Anikulapo, and others. The number of cartoons curated, all tied to the immediate and past problems of Nigeria. Very contemporaneous works the cartoonist present saw them as marks of the times and what the society truly represents in all spheres.
In an effort to promote African Art and Culture, the Jagz Hotel Ibadan, Oyo State capital hosted its maiden Arts Exhibition where Artists converged to showcase their artistic works.
Various Artistics works including that of the renowned Tunde Odunlade Arts and culture connection and artcolony gallery among others were on display for arts enthusiasts.
The art exhibition which was themed “Roots and Resonance, Artists and their Arts ” speaks of the importance of one’s historical identity, as it reflects both personal and collective narratives.
Speaking at the event, the General Manager of the Hotel, Mrs Folake Jacob said the exhibition was aimed at expressing that the Jagz Hotel was not just about accommodation, but a proud promoter of Africa culture and Arts.
She opined that the Hotel which is one of the best in Ibadan located in Iyaganku area of the town would continue to advance the rich cultural heritage of the Yoruba culture.
Jacob explained that the home away from home edifice was out to explore and expose people to the culture of Oyo State.
“This exhibition, “Roots & Resonance,” is truly more than just an artistic showcase. It is a heartfelt tribute to the hands and hearts that poured their essence into each piece. I want to extend a very special thank you to our distinguished featured artists.” She added
In an interview with Journalists, the artists, Tunde Odunlade, Odunsi Olaniyi and Bola Opadiran commended the management of the hotel for putting the exhibition together, saying it is another way of promoting the arts and culture of the Nigerian populace.
Odunlade said arts works were inspired by the untold stories and histories, which remain raw and unexplored.
“These stories shape our identities, instil values, and influence our lives. By showcasing these narratives, we aim to share this knowledge, inform, and educate others about the richness of our heritage,” he added.
Managing Director and CEO of Toslad Group, Amb. Dr. Tosin Ladejobi has been named among the 100 Most Notable Peace Icons in Africa at the prestigious 2025 Leadership and Business Summit held in Kigali, Rwanda.
The summit, which took place from July 4–6, recognised individuals making significant contributions to peacebuilding and national development across the continent.
Organised by the 100 Most Notable Peace Icons, the event celebrated leaders whose work has positively impacted their industries and communities.
Dr. Ladejobi, a key figure in Abuja’s real estate sector, was celebrated for his innovative contributions to urban development and community transformation.
Through his firm, Toslad Group, he has successfully delivered numerous real estate projects in prime Nigerian locations, including Abuja, where he recently held a groundbreaking ceremony for the Olumo Estate at Apo Tafyi.
The event drew the attendance of traditional rulers, industry leaders, entertainers, entrepreneurs, and investors, all acknowledging Dr. Ladejobi’s role in beautifying cities, empowering communities, and creating employment opportunities for young Nigerians.
Beyond real estate, Ladejobi has invested in human capital development through mentorship programmes aimed at building the next generation of professionals in the property sector.
In recognition of his broader impact, Dr. Ladejobi was also inducted into the Asian Chamber of Commerce during the summit.
Project Director Africa for the Peace Icons initiative, Ambassador Dr. Kingsley Amafibe, praised the high-profile nature of the summit and reiterated the organisation’s commitment to spotlighting Africans who are advancing the continent’s development.
Other honourees at the summit included football star Mo Salah, Africa’s richest man Aliko Dangote, Grammy-winner Burna Boy, investor Femi Otedola, and WTO Director-General Dr. Ngozi Okonjo-Iweala.
The Museum of West African Art (MOWAA), the first campus building to open to the public, is returning with “Nigeria Imaginary” with four additional artists; the council expands MOWAA’s artist-centric outlook beyond museum walls.
It has announced the official public opening of the first phase of its Campus and the Institute in Benin City, marking a significant moment in the evolution of cultural institutions on the African continent.
As part of this landmark occasion, MOWAA also unveils the formation of its inaugural Artist Council, a dynamic body of leading contemporary African and diasporic artists committed to shaping the future of artistic expression and institutional engagement across Africa and beyond.
MOWAA, according to the museum, will open its Campus in Benin City with its inaugural exhibition – the anticipated return of the Nigerian Pavilion from its showcase at the 60th Venice Biennale, now enriched with four new artists embedded in Nigeria’s contemporary realities: Kelani Abass (b. 1979, Abeokuta, Nigeria), Modupeola Fadugba (b. 1985, Lomé, Togo), Ngozi-Omeje Ezema (b. 1979, Enugu, Nigeria), and Isaac Emokpae (b. 1977, Lagos, Nigeria). Curatedby Aindrea Emelife. The opening and other activities are scheduled to hold in November 11, 2025.
Homecoming exhibition 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.
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 the first 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 remains artist-led. Through critical dialogue that interrogates contemporary artistic and socio-political landscapes, Council members help shape a programme rooted in collective visioning and artistic rigour.
Council members were selected for their involvement with institutions or cultural organizations across the continent – either as founders 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 CBE RA (b. 1962, London, United Kingdom), G.A.S. Foundation; Michael Armitage (b. 1984, Nairobi, Kenya), Nairobi Contemporary Art Institute (NCAI); Victor Ehikhamenor (b. 1970, Lagos, Nigeria), Angels C Muse and Black Muse; Nengi Omuku (b.1987, Lagos, Nigeria), TAOH Africa; Dr. Odun Orimolade (Lagos, Nigeria), YABATECH; Kaloki Nyamai (b. 1985, Kitui, Kenya), 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. 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,”, MOWAA Director, Phillip Ihenacho said.
Artist Council member, Victor Ehikhamenor, commented: “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.”
“Sustainable progress in the arts 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.” — Ore Dis
Architect Chukwudi Eze has been re-elected Chairman of the Association of Nigerian Authors (ANA) Abuja Chapter for a second term of two years.
Eze was elected at the association’s General Congress on Saturday, July 5, 2025 at the Mamman Vatsa Writers’ Village, Abuja.
In his acceptance speech, Eze reaffirmed his commitment to the literary group, pledging to build on the chapter’s recent successes and usher in a new era of excellence, partnerships and growth.
Eze, who first assumed leadership of the chapter in May 2023, expressed deep gratitude to members for their support and overwhelming confidence in his team, calling for unity and cooperation among members to reposition ANA Abuja chapter and further contribute to the growth and development of the association.
“Your vote of confidence is a stamp not only to the work we have done over the past two years, but also to your belief in the future we shall build together”, said Eze, who ran unopposed and received unanimous support to win his re-election.
According to Eze, during his first term ANA Abuja witnessed a dramatic membership growth at multiple levels, citing increased outreach to universities and the creation of student, associate, and honorary membership categories as key drivers of this expansion.
Notable initiatives during his tenure included the monthly Reading and Writers’ Dialogue, which featured high-profile guests such as former President Olusegun Obasanjo, prominent writers, academics, and individuals who have made impacts in leadership and literary development.
Under his watch, ANA Abuja also launched two major publishing platforms: the Flights of Imagination Anthology and the Young Authors Publishing Initiative, aimed at grooming and publishing emerging voices in Nigerian literature.
Several speakers at the congress applauded Eze’s leadership qualities and offered goodwill messages alongside practical suggestions for the new term.
Dr. Usman Akanbi, National President of ANA, urged the chapter chairman to expand on the good work that he started and to “build more literary bridges”, suggesting sustainability of ongoing programmes and the introduction of new ones.
Akanbi assured that the national body will continue to support the chapter in all of its initiatives.
Mallam Denja Abdullahi, veteran art director and ANA former National President, commended the chapter’s revitalisation through hard work and bold leadership initiatives, while suggesting “leveraging technology to help in creating a vibrant community of written and spoken word craftsmen.”
In their separate remarks, Prof. Tunde Olusunle, seasoned media practitioner and member of the chapter, and Dr Joan Oji, National Secretary of the Association, congratulated the new EXCO, describing their victory as a testimony to their commitment to literary excellence.
They urged the leadership of ANA Abuja to keep prioritising programmes that mentor and publish more young writers, especially women, as they pledged their continued support for the chapter.
Others that were re-elected at the congress include Rukayyat Bayero – Vice Chairperson; Uthman Qasim – Secretary; Adelaja Olufunke – Assistant Secretary; Obinna Okereke – Auditor; Olaitan Abiodun – Treasurer; and Adelana Esther as PRO.
Others include Yemi Mercy-Assistant PRO; Stephanie Abughdyer, Financial Secretary; Barrister Charles Iwuchukwu, Legal Adviser; and Abdulmalik Yahya got inaugurated as Exchange and Special Task Coordinator.
The new council took oath of office administered by Barrister Eric Ibe as witnessed by prominent members of the chapter including Rtd. CP Emmanuel Ojukwu, Salamatu Sule, Dr Nyaknno Osso, among others.
Acclaimed storyteller Peter Macjob has said his ambitious film IREKE due for premier on Friday, July 25 will blow minds.
With a groundbreaking simultaneous premiere in London, Lagos, and Abeokuta, the film is described as a cinematic fusion of Yoruba spirituality, romance, and rebellion.
The film, years in the making, is Macjob’s most personal and expansive work to date. Speaking ahead of the release, he described the experience as “surreal and humbling,” noting that the project had lived within him for years before coming to life on screen. “To see it premiere in three cities at once—it feels like a spiritual release,” he said.
At its core, IREKE is a tale of resistance and rebirth, inspired by Yoruba heritage and symbolism. The title, derived from the Yoruba word for sugarcane, captures the paradox of sweetness grown through hardship.
“IREKE was born from a desire to explore Yoruba heritage through a powerful, human lens,” Macjob explained. “I wanted to tell a story about freedom—emotional, spiritual, physical—through characters that feel ancient and modern at once.”
Set in a mythic world shaped by tradition and tyranny, the film stars Westy Baba as Johnson, a manipulative official who embodies the dangers of unchecked power, and Bolanle Ninalowo as a rebellious warrior slave who becomes the heartbeat of a growing revolution.
Also starring are veteran actress Faithia Williams Balogun and a strong supporting cast that Macjob says brought “heart and fire” to every scene.
Despite the epic scale, IREKE is a deeply personal endeavor for Macjob, who served as writer, director, and producer.
“It was intense, but also deeply rewarding,” he said. “Being involved at every level allowed me to protect the integrity of the story.”
He credited his collaborators—including Big Cass, TY Toyin Moore, Dapo and Jacinta Macjob, and UK-based executive producers Clare and Emmanuel Anyiam-Osigwe of BUFF Studios—for helping bring the vision to life.
Authenticity was a guiding principle throughout production. The film was shot in sacred Yoruba locations using traditional fabrics and indigenous language. “It wasn’t just about aesthetics,” said Macjob. “It was about honoring our ancestors and preserving culture through cinema.”
Macjob describes IREKE as more than just a story of rebellion—it is also a meditation on love as a form of resistance. “Love can challenge systems. Silence has power, and breaking that silence can cost everything, but it’s worth it,” he said. “I wanted audiences to feel something ancient rise in them.”
Choosing London as one of the premiere cities was deliberate. Macjob says the city’s vibrant Nigerian diaspora makes it the perfect venue to share a story rooted in African heritage. “I want them to see themselves on screen—to feel seen, challenged, and inspired,” he added.
With its global premiere on the horizon, IREKE is already generating buzz beyond Nollywood circles. Macjob confirmed that the team is submitting the film to international festivals and exploring streaming deals. There are also discussions around expanding the IREKE universe into a sequel or series. “The world we’ve built is just getting started,” he teased.
A powerful blend of myth, history, and contemporary resonance, IREKE stands poised to be a landmark film, one that not only celebrates Yoruba culture but elevates African storytelling on the world stage.
As the credits roll on July 25, audiences in London, Lagos, and Abeokuta will witness not just a film premiere but the arrival of a new cinematic vision.
The creative industry as an integral part of promoting the dynamics of Lagos megacity is being felt, currently, in Europe. Installation on Lagos markets by architect Tosin Oshinowo, showing at the Venice Architecture Biennale, in Italy has been celebrated, writes Edozie Udeze.
The installation titled Alternative Urbanism: The Self-Organized Markets of Lagos, by Tosin Oshinowo, interestingly has won award as one of two Special Mentions, alongside Elephant Chapel by Boonserm Premthada. According to the theme, the installation showing till November 23, 2025, inside Corderie, Arsenale of the Venice Architecture Biennale, explores and celebrates market formats, operating as factories processing ‘waste’ or ‘end-of-life’ items from the global north and showcases the inherent and ingenious circularity. Curated by Carlo Ratti, the 19th Venice Architecture Biennale is themed ‘Intelligence – Natural Artificial Collective’.
Speaking on her award winning installation, Oshinowo recalled that its inspiration is over two twenty years old, from a visiting architecture professor to Lagos. In a tribute, as part of the exhibition, Oshinowo narrated how visiting Rem Koolhaas, Professor and Founder of OMA inspired her Alternative Urbanism: The Self-Organized Markets of Lagos. “In 2001, as a young architecture student, I came across his Harvard Cities project covering Lagos. This was the first time I had seen my city viewed through this lens, and I have remained spellbound. In the lead-up to this exhibition, we had many conversations concerning this work, and I am deeply honoured to have his essay contribution to the project.” That experience was likened to a seed that germinated fruits that keep “changing our perspectives on how we think and design our cities for the future.”
The installation explores and celebrates market formats, operating as factories processing ‘waste’ or ‘end-of-life’ items from the global north and showcases the inherent and ingenious circularity. In her curatorial note Oshinowo stated that the three markets captured in the installation include Ladipo Market, Mushin; Computer Village, in Ikeja; and Katangua, Agege. “Ladipo Market specialises in second-hand cars and parts; Computer Village in new and used computers and electronics; and Katangua in second-hand clothing and shoes. All three resonate with communal intelligence, highlighting their alternative urbanism that contributes sparingly to global carbon emissions and brings genuine circularity to bear on everyday consumerism.”
Her thoughts on circularity led to research of the uniqueness of the Lagos markets. Oshinowo noted that Lagos markets boasts of “an industry that repairs, recycles andconsumer necessities to an extraordinary level.”
The Venice Architecture Biennale jury disclosed how the installation deserved the Special Mention award: “Tosin Oshinowo’s Alternative Urbanism: The Self-Organized Markets of Lagos offers a glimpse to markets of processing waste of industrialized economy,” the Jury stated in a motivation speech that produced the award. “The documentation is a promising initiative for further research and knowledge production about markets in Africa and the importance of markets as prototypes for innovation. These markets are keynotes in a robust ecosystem that merits study because of its adaptive circularity.”
The description of the installation disclosed details such as being 3-meter-high and 3-meter-wide walls to create a sense of enclosure. And from the inner walls are immersive videos that project each market. Also, the outer sides of the walls, have data and three maps, crafted in Kantangua market from recycled denim, depicting each location. The maps illustrate the different zones that shape the marketplace, the essential elements supporting their functions, and the movement of people and goods through the space.
Supporters and sponsors of the installation that include corporate groups and individuals are based in Nigeria. The list include A.G. Leventis Foundation, Kavita Chellaram/Ko Gallery, Tafeta Gallery, OAB Foundation, CAP PLC Nigeria, Iron Capital, Sencillo Lagos, Yvonne Fasinro, Lekan Akinyanmi, Niyi Adenubi and Victor Ehikhamenor as supporters and sponsors. Others include Ministry of Art, Culture, Tourism and the Creative Economy, FCT, Abuja, Nigeria; Office of the Special Adviser eGIS & Urban Development, Lagos State; and Harvard University, Loeb Fellowship, Graduate School of Design. Others include Andrew Eseibo, Amanda Iheme, Olanrewaju Ali and Nengii Nelson.
Oshinowo Studio is founded in Nigeria in 2013, and now boasts of an extensive international portfolio which includes housing, culture and large-scale humanitarian projects. The studio’s ethos is rooted in the intersection of human-centred design, culture and climate. Established in West Africa and shaped by Yoruba culture, Oshinowo’s perspective on design calibrates regional approaches to global social and environmental challenges.
Oshinowo Studio is a member of the Royal Institute of British. The founder is a 2025 Harvard University Loeb Fellow and the curator of the 2023 Sharjah Architecture Triennial.
Thousands of people that thronged the Aliyu Akwe Doma in-door theatre, at the University of Jos, on Friday June 20, 2025, with the old notion that Drama is usually an illusion of reality, were rudely shocked to discover that in modern drama, the illusion of reality has grown to include not just the shape of an action, the events and characters but also the details of everyday life. This of course means that modern theater and film ranges widely and explores multiple realities, some of them comic and some tragically painful. No where is this trend illustrated with more completeness than in the new documentary film Wake the Flies (2025) produced by Lena Truper, a German and directed by Longgul Makpring Dakwom, a Nigerian and lecturer with the Department of Theater and Film Arts University of Jos, respectively.
Wake the Flies is set in the city of Jos Plateau state, Nigeria, with its inimitable scenic beauty, its elemental silences, the grandeur of bleak mountain spaces that at sunset are shadowed by magnificent blues, amethystine grays and jagged rocky features, all of these contours adding color and glamor to the props of Wake the Flies. As a matter of fact, Plateau State is known, both home and abroad, as the ‘Home of Peace and Tourism’. Two reasons could account for this sobriquet: the first is the abundant tourism potentials in Plateau state. The second is because of the peaceful co-existence among the culturally and religious diverse people that inhabit Plateau state. But as the action of Wake the Flies begins, it is a huge irony of some sorts that criminal violent confrontation among religious identity groups, has become second nature to a once peaceful and breath-taking region.
For theater-goers the opening and subsequent events in Wake the Flies could only be explained in terms of pathos and perhaps catharsis. But it is very clear to the audience that pathos dominates the plot of the film. As a parenthetical remark, Pathos in theatrical parlance, simply means a destructive or painful act such as death on stage, paroxysms of pain, woundings and all that sort of thing. Apparently, Wake the Flies feeds the spectator’s hunger for the tragic. The episodes and incidents are rife with horror, sorrow, tears and blood. The scenes are brutal, gruesome horrid and harrowing with men, women and children re-enacting from their rustic memory their collective griefs and agonies. It is a tragic story not just of Jos city but an entire nation on a precipice, a nation of vampires where cannibalism has become enthroned as a god.
And it is quite clear that the film’s preoccupation with communal violence has larger religious and economic dimensions. At the same time, the documentary film is deeply rooted in the Historical process. It is to the credit of Truper and Dakwom that two reputable Historians: Prof. Monday Mwangvat and Prof. Sati Fwatshak are part of the narrative providing perceptible and illuminating historical insights. For example, there is historical evidence that three major ethnic groups on the plateau: namely Berom, Anaguta and Afizere, who were converted to Christianity by the Europeans, had inhabited Jos city prior to the arrival of the Europeans in the early part of the twentieth century. Historically again, there is evidence that the Hausa who were dominantly Muslims arrived Jos city for mining activities in the early 1920s. We may concede that two groups have emerged here: the indigene and the settler. The good news, however, is that since the 1920s both the indigene and the settler have co-existed peacefully until 1991 when General Ibrahim Babangida the military leader created Jos North Local Government Area. The political control of the newly-created Jos North Local Government Area became a major source of conflict in Jos city pitching the indigenous ethnic groups and the Hausas against each other in a bitter rivalry. What began as a contest for political power became immersed in ethnicity and religion, two instruments in the hands of the ruling elite as they struggle for supremacy. Violent crisis in Jos city, therefore, first began in 1994, and it laid the foundation for subsequent conflicts in 2001,2002, 2008, 2010 and up to the present. The list of the conflicts in Jos Plateau state is as long as a railway line and needless to say that it has brought on its trail deaths and untold hardship. The plot of Wake the Flies derives largely from these events and it is for these reasons that the film has a profound effect on the spectator: we are made to come face-to -face with the dangers of conflict: it typically retards economic development, it destroys existing infrastructure, it devastates natural environments, displaces huge numbers of people who become homeless and desperate refugees, and most sadly, it creates long lasting and psychological wounds. Wake the Flies conveys this message frontally, starkly and rudely.
The other thing about the premiere of Wake the Flies which could not be missed even by the most indifferent spectator was the key note address delivered by Prof. Dakas C.J. Dakas (SAN). An erudite, soft-spoken scholar with a reputable legal status, Dakas identified the problems and he asked fundamental questions as well. Dakas left the spectators pondering with the suggestion that evil triumph because good people do nothing, violent conflicts occur again and again because the causes of violence has not been investigated, the culprits have never been prosecuted, our institutions are weak and there is bad leadership. As a matter of fact, it is bad leadership that breeds corruption, election rigging, communal crisis, mistrust, tribalism and other train of ills.
So, what next? It is the duty of the ruled, the led, the poor, the ants who are the majority in society to ask questions, to hold their leaders accountable. In Nigeria, as in other parts of the world, our lives are a battlefield on which is fought a continuous battle between the forces that are pledged to confirm our humanity and those forces determined to dismantle it. It is these two forces that are in conflict every day and everywhere. They are with us in schools, in offices, at the market, in the churches/ mosques, in the theater and even in our homes. In simple terms, there are two classes in society: the rich and the poor, the ruler and the ruled, the ants and the Lions those who pull and those who are meant to do the pulling.
The ants are little creatures but when they come together, they can lift a big animal like a Lion. The ants can wake the Lion from its slumber and if the Lion refuse to wake up, the ants can torment the Lion with frightening nightmares every day and night.
It would be appropriate to conclude that Wake the Flies is a tale of the entire universe. It is a metaphor of the intensity of violence in the present century. The wider dimension is that the international environment of the 21st century is not only violent, frightening but also unpredictable and dangerous. By all conceivable standards, the presence and intensity of conflict in the present century has been remarkably high, the geographical area involved has been considerable and the number of persons affected by conflict has been truly significant. From Dakwom’s home place Jos, to Truper’s Germany, ethnic, communal, religious, secessionist conflicts and even violent protests have shaped the international environment. Wake the Flies is an exhortation for all of us to devise new ways and more effective strategies for peace. The producer and Director are urging society to shun violence, to drive away flies from the numerous corpses that litter our streets as a result of violent conflict. But we can do this more effectively through shared responsibilities, by waking not only the flies but also by waking the ants and the Lions as well. With Wake the Flies, Dakwom’s creative seed has germinated and it is hoped that it will soon bloom and flower.
Jeff Godwin Doki is a writer, Peace Researcher, and a Professor of Comparative Literature with the University of Jos, Nigeria.
Emerging as a key figure in Africa’s growing creative economy, Precious Nwosu is charting new territory at the intersection of music, fashion, and cultural storytelling.
As the founder and executive producer of BLOKENT, a fast-rising entertainment and lifestyle brand, Nwosu is steadily building what he describes as a legacy of “African stories told with style, soul, and ambition.”
Though relatively new to the industry, Nwosu’s influence is spreading far beyond Nigeria’s borders. Born in Abia State and raised in Enugu, his early exposure to diverse cultures and global ideas continues to shape his entrepreneurial vision.
At the heart of BLOKENT is BLOK RECORDS, a music label already making significant strides on the African soundscape. Recent collaborations with breakout stars Jeriq and Aguero Banks have racked up over 500,000 streams in one month, signalling BLOKENT’s potential to thrive on a global stage.
“Our goal isn’t just to build a label,” said Nwosu. “We’re building a legacy—something that represents where we’re from and where we’re going.”
Beyond music, Nwosu is also the Creative Director of BLOK LUXURY, an Afro-luxury streetwear brand that merges African heritage with modern urban fashion. The brand, worn by artists and creatives across the continent, is fast becoming a symbol of cultural pride and identity among a new generation of tastemakers.
Through BLOKENT’s platform, Nwosu is focused on discovering raw talent from underrepresented communities—especially in overlooked African cities—and providing them with the tools and visibility needed to succeed globally.
Rooted in culture and driven by ambition, Nwosu represents a new wave of African entrepreneurs redefining what it means to create, lead, and influence in today’s fast-changing digital landscape.
He may be building a brand, but for Precious Nwosu, the mission is much bigger: he’s shaping a movement.
