The 2025 Globacom-sponsored Ojude Oba, which marked the technology company’s 20th anniversary of its consistent support for the festival, has transformed into a powerful tool for empowering new entrepreneurs.
The event, recently held in Ijebu Ode, Ogun State, was a huge opportunity to reward various segments of the Ijebu society, as several winners smiled home with mouth-watering prizes, including two brand new cars, Four Tricycles and others choice items, including Power Generating sets, grinding Machines and Sewing Machines.
One winner of a brand new car was chosen by the Ijebu society through a nomination process that saw 52-year-old Opeoluwa Osisanwo receiving the keys to a brand new car at the event. Opeoluwa, a member of Egbe Tobalase Okunrin, was adjudged the most outstanding young leader in Ijebuland who has served the community diligently for years as Secretary of the Ojude Oba Festival Planning Committee.
”I never knew people were watching me. I was just serving my land of birth to the best of my ability”, he said, while expressing appreciation to the Awujale of Ijebuland, Oba Sikiru Kayode Adetona, and all members of the Committee “for allowing me to work with them not minding the fact that I am the youngest among them”.
The other winner of a brand new car through the promo, Idowu Olabisi, a trader based in Ijebu Igbo, was ecstatic after receiving the keys. She said that Globacom indeed gave her a spectacular gift at Eid period, as she had no inkling she would get such a car at this time.
Four brand new Tricycles (Keke) were carted home by various winners from within and around Ijebu. The winners included Hassan Toheeb, a businessman based in Ijebu Itele; Adenike Olanrewaju a Plank seller at Molipa, Ijebu Ode; Gazal Temitope, a trader who resides at Olisa, Ijebu Ode; and Lawal Tosin, a carpenter in Ijebu Ode.
Chief Dapo Abiodun, the Governor of Ogun State, and Barrister Hannatu Musa-Musawa, the Minister of Arts, Culture, Tourism & Creative Economy, as well the Olorogun Sunny Kuku, the Ogbeni Oja of Ijebuland, were in attendance. The Governor, in his goodwill message at the event, lauded the over six decades reign of the Awujale as that of “purposeful leadership, progressive vision and unwavering commitment to the upliftment of Ijebuland and the entire Ogun State”, while Barrister Musawa, described the festival as a shinning testament of the “richness of our cultural diversity and the resilience of our traditional institutions in preserving history for future generations.”
Meanwhile ,Glo’s sponsorship of this most important festival in the history of Nigeria has elevated Ojude – Oba Festival to global prominence as the yearly event is on its way to gaining UNESCO heritage recognition.
The Editor-in-Chief of PRNigeria, Yushau A. Shuaib, has lauded a newly released book titled “AI-Powered PR: The Essential Guide for Communications Leaders to Master Artificial Intelligence” as a timely and practical contribution to the evolving field of public relations.
Authored by renowned media innovation expert Celestine Achi, the 538-page book was praised by Shuaib during Achi’s visit to the PRNigeria Centre in Abuja. Shuaib, the CEO of Image Merchants Promotion Ltd (IMPR), described the book as an “invaluable resource” for communication professionals seeking to integrate AI into their daily operations.
“I’m so glad to pick up a copy of AI-Powered PR immediately after its launch,” said Shuaib. “This is coming months after I enjoyed reading a well-researched academic literature by Abu Saidu Sabastine titled ‘Artificial Intelligence and Public Relations in Nigeria: Challenges and Prospects.’”
He noted that while Sabastine’s book provides useful theoretical insights for scholars, policymakers, and students of communication, Achi’s work also stands out for its actionable approach.
“Achi’s book emphasises practical application rather than abstract theory, offering compelling case studies and prompts for core PR tasks—from content creation and media management to stakeholder engagement and post-crisis reputation assessment,” Shuaib added.
Achi’s visit was part of his nationwide outreach to educate media and communications professionals on emerging AI tools and strategies. During his interactive session with the editorial team of IMPR—publishers of PRNigeria, Economic Confidential, and Spokespersons Digest—Achi donated copies of his book and demonstrated key AI applications.
He showcased platforms capable of automating media monitoring, generating creative content, conducting sentiment analysis, and suppressing harmful online content through strategic search engine optimization (SEO) techniques. Achi also discussed the relevance of his proprietary TABS-D Framework for AI education and advocated for a collaborative approach that combines machine efficiency with human creativity.
“AI is no longer a futuristic concept—it’s a present-day asset,” the author noted. “From ideation to execution, AI tools can accelerate workflows and enhance creative outputs across the PR industry.”
Receiving the donated books, the Managing Editor of Image Merchants, Mr Abdulrahman Abdulraheem commended Achi’s contribution to professional development and reaffirmed PRNigeria’s dedication to innovation and capacity building in digital communication.
Abdulraheem revealed that PRNigeria Centres in Abuja, Kano and Ilorin have been deploying AI tools in their editorial and communication operations without workforce reductions, noting that every team member is AI-compliant through ongoing training in emerging technological tools.
“The visit of Mr. Celestine Achi represents a pivotal moment for our newsroom, adding to our previous knowledge in AI in strategic communication,” he said. “At a time when artificial intelligence is reshaping media and public relations globally, this engagement reinforces the urgency of embracing digital transformation.”
Abdulraheem concluded by stressing the importance of AI-human collaboration: “The insights and tools shared are not intended to replace human talent but to empower it. We are grateful for this partnership and look forward to future collaborations that place Nigerian communications on the global innovation map.”
The Cartoonists Association of Nigeria (CARTAN) will hold a special exhibition of cartoons, drawings, and paintings in honour of a renowned artist, Professor Dele Jegede, on his 80th birthday. The exhibition will be held at the Didi Museum, Victoria Island, Lagos, today, June 21, by 4:00 pm and will run daily through to June 28.
The exhibition will feature a diverse collection of artworks from some of Nigeria’s most talented cartoonists, paying tribute to Prof. Jegede’s remarkable contributions as a painter, cartoonist, art historian, and cultural commentator. The exhibition will feature a wide range of creative works, showcasing the artistic prowess and depth of expression of the participating cartoonists.
Guests expected at the exhibition include legendary artist, Professor Bruce Onobrakpeya, elder statesman of Nigerian art, Kolade Oshinowo, Dr. Kunle Filani, among others.
The exhibition, which is open to members of the public, art enthusiasts, students, cultural historians, and admirers of Nigerian creativity, promises to be an exciting celebration of art, creativity, and Prof Jegede’s enduring legacy.
Juju Eyes, this rippling story told by Sam Omatseye, has continued to make waves. In the literary circle in Nigeria now, it is the rave of the moment. In continuation of its public reading by Omatseye in different locations, it was the turn of the University of Lagos, Akoka, Lagos, last week. It was a storming session as stakeholders, academics, students and critics were in attendance to listen and interrogate the author. EDOZIE UDEZE was there.
Sam Omatseye’s Juju Eyes has continued to travel from place to place. It was the turn of the University of Lagos, Akoka, Lagos, last week. The fame, the flow, the glow of the story has also continued to be euphoric, registering in the minds of all. The aura of this well-crafted, properly thought out and well told tale has generated so much heat within the short period of its release. Its fame continue to travel like the wild harmattan fire, confounding literary critics, lovers of literature, scholars and close watchers of events in the culture sector. It is a story that touches people who cherish storytellers and their works.
When the public reading of the novel opened at UNILAG, the momentum reached a crescendo immediately. Omatseye, chairman of the editorial board of the Nation Newspapers Lagos, a former human rights activist and the author of the book had just read the prologue. It only took the hypersensitivity of the prologue and the strangeness of the characters to cause heated arguments, comments, and reactions from the audience. This time, Omatseye carefully read the rather elongated but effusive prologue, spelling out what is obviously the summary of the powers of the main character, Shay, goddess of all goddesses, a baby of four who could wrestle and puncture the powers of her native shrine. A baby who could overwhelm all the unseen witches and wizards and render their potency impotent.
For people who have been following the novel and its engrossing contents, Shay is made to be queen of all queens in a very strange way that is meant to confound and shock the powers of all goddesses. Omatseye expertly and wisely created a character that is larger than the ordinary. A character that cannot be dethroned by seen and unseen powers and forces. And this is why the forces which Shay (Oluseyi Ekanem) controls cannot be suppressed by any other. That alone, that strange opening in the prologue quickly sends someone’s mind on edge as soon as one begins to read it.
Authors, often knowingly or unknowingly build characters who are often bigger than they really are. This is often deliberate, albeit, to give the story a bent that is never seen or encountered in th realm of literary rendition. It is this approach that set Juju Eyes apart from the rest. Nowhere has it ever been seen or contemplated that the(un)holy ghost fire in a little girl of four overwhelmed those of seasoned and iconoclastic goddess and goddesses. Not even in a fantasy tale. Witches are not meant to be outwitted by ordinary mortals but Shay did. She slowly graduated from being a kid witchcraft into a mega one. A mega one that does not only torment elders, rich men, but also brings her fellow powerful and society women under her compelling Juju Eyes.
Now, even if Shay assumes Juju Eyes as her name, the rest of her life it will still stick. She has continued to use those eyes to capture, ensnare, enslave and control even the most powerful of all men. She does this effortlessly and at her own whim.
Omatseye said thus: “Maami has to present her daughter before the village shrine because it was her turn. Maami (Shay’s mother) hoped the day would never come when she would have to confess. She bore the guilt in silence on her daughter’s behalf. She never wanted her daughter Oluseyi, later to be called Shay- to know or be haunted by what happened to her when she was barely four years old. Maami was summoned one night by her mother, Eriade, a dying, wizened creature, who was otherwise charming, because of her busload of affection.
Omatseye was not done yet. “My turn for what. Not you, but my dear Oluseyi”, her mother announced with cheerful irritability. The deity needs a companion and the family whose turn it was lost their daughter. So, it is our turn now. The first time since my great, great, grandaunt”.
And so, with this kind of build up, meticulously done, the author infused lots of elements of witchcraft characteristic into Shay. Thus she becomes a goddess other goddesses must submit to. Now the goddess Okumo needs a powerful female protegee in her coven. Thus, apart from assuming all the powers, Shay also becomes a priestess duly equipped and created by the novelist to bring down men and women from their utopian heights.
That is one of the whole essences of this novel. This is so because Omatseye says “my granddaughter is already a goddess. She survived the battle. She will be a priestess or something (higher). Watch out. The remains of the forest after the flames had expired.
Someone during this session nicknamed it the fire of the spirits or (un)holy ghost fire. Yes, it has already burnt away all the obstacles on Shay’s way. Henceforth she is fully in charge, emitting danger, fomenting trouble and destroying lesser forces on her way.
However, the reactions and comments and interrogations from the audience were deeper in every sense of the word. Peopled by eggheads, critics, teachers of literature and their students, the hall came alive quickly. Someone wanted to know how writers create characters and those characters seem to resonate and exist somewhere outside the reach of the author. Are authors mystic in anyway? Why would Omatseye keep eulogizing and arrogating such incredible powers to his women characters? How does he imagine, discover and create them? Nevertheless, Omatseye’s opening remarks set the hall rolling with deep sense of imagination when he asked if Shay is really a bad girl. Is she a goddess or goddesses? Can she be killed by other goddesses?” But the prologue situates all these in the best way possible. This is part of the story of Nigeria. Everything contained in the novel rears their heads in Nigeria.
The story situates African societies in the realm and concept of spirituality. Shay began with some measure of simplicity and then graduates into a bigger and complicated personality, driven by her witchcraft potency. At this juncture Omatseye repeated that he loves using women to elaborate and embellish his ideas of the society. “I use women and their foibles to reach out through my stories”.
He did same in his previous works The Crocodile Girl, My Name is Okoro and now Juju Eyes. “When I encountered a Nigerian lady in the U.S who succeeded in altering her local name so as to divert attention from where she comes from, the name Shay stuck. This was during the COVID-19 era. The sequences of the story thus fell in place”. An author therefore can use any little spark in his head or around him to start off a story idea. While the story progresses, some other powerful forces known and unknown can come in to hijack the flow from left to right. When that happens, the writer only needs to flow along. There are mystic forces controlling the pen of a writer once he is set to go. This is what Omatseye explained that happens often. All you need to do is to follow the dictates and what your brain orders you to do. In the end a story is born and the rest are left for the reader to discern, stomach, discard or absorb. The judgment, invariably, is in the hands of the reader or critic who can give different interpretations to the book. In this case, Shay is part of the unholy ghost fire that made Omatseye to even abandon an original story idea he set out to write. Now he has ended up under her spell discarding that original idea that has a leading male character.
It is still part of the mysticisms of an author who recreates the world through his many crazy and not too crazy thoughts and ideas. If not, why would Shay arrest, harvest and discard the heart of a goddess and no one has questioned her up till today. The goddesses are mystic. And the author is more mystical, indeed a bigger god. He has been able to demystify their powers with the emergence of a bigger Wizkid who is a priestess. The idea of the public reading therefore is to bring out these other sides of the book.
The hidden concepts behind it, if you like. The novel is deeper than mere reading it. “Every time I read this book or encounter people who have read it, I get new ideas that crept in while I wrote it. Today the idea of holy ghost is heard. Yes, Nollywood people can create a film out of it. But my fear is that they may not represent the real soul of the novel which you get when you read it. There is this unimaginable feel you get when you read a book than when you watch it as a film. The film aspect may not get into the interiors of the character”, the author said.
This aspect of a character has been described by some critics as the contours of a book. It is only an expert eyes that can see and decode those contours. For instance, how do you exonerate, or denigrate or even praise the demons that propel Shay? The author revealed that he grew up in the village back in Delta where gods and goddesses held sway. That was in the years of yore. Today the people are complaining that the forest of the gods and goddesses are continually being decimated. Now why wouldn’t the gods and goddesses defend themselves?
So, the responsibility of the author is to visit such scenarios. It is here that the issue of mystical or mystic writing comes to play. Often people complain that writers dwell on such perspectives. Why would an author bother? Your work is to write according to how you are led. The rest goes into the subconscious of the reader who decides how to sum up the contents. Omatseye said, ‘oh, I just tell my stories’
The session was handled by Dr. Awelewa Abayomi who was thrilled more or less by the scene in chapter sixteen of the book. The title is bonfire. Actually, Omatseye used the opportunity of this section of the book to review lots about the state of politics in Nigeria. For him beyond the burning of the naira by a political godfather in order to control the soul of his political godson, politicians can do anything, just anything to win and be in politics. This is a warning and indeed one of the most mystic portions of this lovely tale. A tale full of lots and lots of revelations. After the author read from it the hall became more agitated with reactions that made references to many situations where godfatherism in Nigeria are obviously in action. That is politics for you, a game of intrigues and dirtiness.
Present at the occasion, were some topnotch academics from the Faculty of Arts of the University of Lagos. In the hall were Professors Hope Eghagha, Chris Anyaoku, Biodun Adeniji. Others were Ademola Adesola, Lola Akande, and many English students who made it clear that the subject matter interested them profoundly. The head of department of English, Adeniji, saluted Omatseye whom he said was his senior colleague in the days of Concord. He apologized for the lack of electricity in the whole school, attributing it to the collapse of their transformer.
Eghagha praised Omatseye for his ability in serenading the public with books year in year out. Professor Patrick Olokor said it is good to write to help develop scholarship. And that as an author, Omatseye has successfully combined journalism with authorship to remain ever relevant”. And because of the reduction of the price of the book some were purchased for the libraries. Students and other guests brought theirs to Omatseye for autograph. Meanwhile some members of staff of the Nation Newspapers and some close allies and friends of the author were in attendance. On the whole the infectious effects of Juju Eyes continues to transcend the mundane, penetrating and piercing the eyes of the larger society
On May 27, National Gallery of Art (NGA), gathered children of different nursery, primary and secondary schools in Lagos to celebrate the Children’s Day. It was time also to showcase some of the children who participated in the art talent hunt in which some prizes and awards in visual arts were given. Cultural displays, dramas, dances, songs and all manner of artistic displays took place on that day. EDOZIE UDEZE reports.
Every May 27, the National Gallery of Art (NGA), gathers children from different schools in and around Lagos to celebrate the Children’s Day. Usually tagged children in art talent hunt, the purpose is to encourage children in nursery, primary and secondary schools, to express themselves in the areas of painting, drawing, sculpting and other aspects of the visual art. In most cases the children are also allowed to act, dance, sing and express themselves in other mediums and forms of cultural displays, including drumming, miming, fashion parade, hip hop and more.
This year, it was so colourful to see the children mount the stage in what has been described as the best Children’s Day celebration in a long time. The grooving was good. The children were excited, vibrant and active. With over thirty schools in attendance, the stage was set agog. When it was time for them to come out one after the other to dance and sing. But before the D Day, a visual art competition had been conducted and winners selected. Positions were allotted to the first schools and individuals that won first to third positions. Even though prizes and awards were given to them, the NGA in its usual wisdom placed the artworks inside the Aina Onabolu hall for public viewing. The works were indeed classical, more than what anyone could expect from children even as young as five to six years. Their sense of the interpretation of the theme-harmony in diversity; Art as a unifying force, showed how smart they have turned out to be.
It also showed how the efforts of NGA has consistently yielded positive results over the years. The children took the bulls by the horn. Their sense of colour appreciation and combination, landscaping and imagery and figurative displays can not be easily fathomed. But there the works were on the walls of the exhibition hall, depicting serious artistry, committed recourse to excellence. Inside the hall of the exhibition, colours, styles, forms, and ideas of different experiments welcomed guests. Most adult artists also shuddered with surprise on seeing how great all these children have turned out. And kudos must be given to their Art teachers who have taken the rigours to teach them and teach them well.
You also needed to see the children sing, how they carried themselves with grace and pride on stage. When it was time to dance, their dance steps and movements became instantly electrifying. School after school showed dexterity on stage. They were indeed flexible. The songs were composed to suit the theme and appeal for unity. The children wore traditional costumes, some western, though, all signifying harmony and unity that have for long enveloped Nigeria. The level of smiles and glow and affection on their faces showed a generation in the threshold of love and cohesion.
It was really encouraging seeing how children could dance to the sounds of drums. Normally, it takes just an initiate to interpret the sounds and messages of the drums accurately. However, on that day the kid dancers did justice to the sounds. The drums pelted with total evocative percussive sounds. The sounds reverberated. They traveled into space. They provoked nuances. The children rose to the occasion. Those who did hip hop and rap and urban contemporary were frenzy in their displays.
At a stage the NGA arena turned into a carnival ground. The colourful decorations of the arena gave more room for people to appreciate the seriousness of the occasion. Some of the parents who came with their kids and wards were in jolly good moods especially those whose kids won prizes and awards. The beat went on and on well into the afternoon. Each school was mandated to do a different show which included choreography, cultural dance, drama, musical rendition, choral display, fashion parade, hip hop and more. All these came out good and the atmosphere was charged with varieties of shows that made the day truly a Children’s Day.
In his welcome speech the Director General of NGA Ahmed Sodangi commended the children for always coming out to display their best talents. Children, he reasoned, are the living proof of this incredible power. He said “when you create whether through drawing, singing, acting or any form of artistic expression, you are doing more than showcasing your individual talent. But also you are contributing to the collective voice that speaks of unity, friendship and understanding. In your art, we see the beautiful blend of cultures, perspectives and dreams. Each stroke of brush, every note of a song, each movement in dance, tells a story of a world where harmony, and mutual appreciation can flourish”.
In his own address, the curator Dr. Celestine Agoziem praised the NGA for his love for children. It is love that has survived many years un-end. He said, “why art? Simply put, art promotes cultural awareness, by exploring and celebrating different cultures. Through art children can also develop deeper understanding and appreciation of Nigeria’s diverse heritages. For faster empathy, art can be used to help children see things from other people’s perspectives, thereby encouraging empathy and compassion”.
For him, it was good the children were able to conform effectively within the ambiance of the theme that hoovered on harmony and unity. Unity of purpose in all spheres is what the children need now to forge love and togetherness.
In his remarks, father of the day, Professor Abolade Adeniji implored the children to be of good conduct. This, he reasoned would encourage their parents to invest more in them and then make them grow into greater children for the sake of tomorrow.
When Olamigoke Omowale Okelola premiered Ashes of Promise at Lagos Theatre, Igando, on June 6, audiences responded with enthusiasm, selling out both the 3 pm and 6 pm shows. But it was on June 14 at Lagos Theatre, Epe —where the production found its true resonance —that the play transformed from a commendable debut into a quietly riveting theatrical experience. In this more intimate venue, the production’s nuances deepened, reflecting not only the power of the script, but the maturity of Okelola’s direction.
A new original work, Ashes of Promise departs from Okelola’s prior ventures into canonical Nigerian drama, including The Gods Are Not to Blame and The Lion and the Jewel. It tells the story of Abéfé, a bead-seller whose dignified presence anchors dramatic explorations of truth, memory, and broken bonds. Across five acts —marketplace, home, confrontation, courtroom, and epilogue —the play constructs a moral and emotional arc that hinges on a sacred gourd, a cracked strand of beads, and the courage to confront lies. Metaphor surfaces organically; the beads are not window-dressing, but narrative touchstones.
In Epe, Okelola’s directorial craft was particularly evident. Scene transitions, which, in Igando occasionally felt abrupt, here unfolded with purposeful stillness. Without overt sound cues, actors moved props or shifted lighting subtly, transforming market stalls into palace chambers in a single breath. The pacing was leisurely —not languid, but measured. Each shift smiled toward ritual: characters traversed their symbolic journeys in curved orbits, not direct paths. It’s clear the director has developed a keen sense of theatrical time —when to let a scene linger, and when silence speaks louder than words.
Central to this staging is the impactful use of silence and spatial intention. In Epe, the moment Abéfé first realizes the sacred gourd has shattered is held in pregnant pause. The audience could feel the weight of generational inheritance cracking alongside that prop. Before anger or tears, there was only stillness stretching into something almost sacred. That Okelola trusted the space —and his audience —to hold that moment speaks to his evolving confidence as a director.
The performances at Epe matched the space’s resonance. The actress portraying Abéfé carried her matriarchal authority with a quiet composure that rarely slipped into didacticism or spectacle. Queen Adérónkẹ́, regal and measured, became more than a narrative device —she was a mirror to Abéfé’s inner deliberations. Notably, the interplay between the two young servants, Tánná and Olúyẹmí, grew sharper. Tánná’s defiance crackled like dry tinder, while Olúyẹmí maintained cool calculation. Their final act of repairing the broken beads, almost in silence, felt earned —not sentimentality, but understanding.
Musical underscoring, minimal though it was, contributed meaningfully. A cellist tucked into a corner underscored scene transitions with sparse, haunting tones. The drumming that opened the play in Igando was replaced in Epe with breath and pulse —quiet, internal rhythms that complemented rather than commanded. The effect was intimate, creating an emotional intimacy rarely achieved in larger venues.
As for cultural texture, the script weaves Yoruba proverbs, untranslated lines, and verbal cadences into a tapestry that speaks across linguistic boundaries. That Okelola allowed untranslated speech to stand unannotated was a bold editorial move —and it paid off. The meaning was never lost; instead, the tonal delivery conveyed weight and gravity, inviting audiences to listen as much as they watched.
The set design remained minimal but effective. A single shrine, a mat, and select props served as spatial anchors. What changed in Epe was how the space felt live —closer to the audience, less like a stage and more like a living room where ritual and conflict played out in real time. Light cues were timed with mood rather than action: warmer hues ushered in memory; colder ones registered rupture. Okelola’s attention to these details suggests a director learning the language of atmosphere.
If there is a point of critique, it emerges in Act 4, where the metaphor of the cracked bead, laid out in courtroom formality, risked edging into explicitness. In Igando the line landed with symbolic grace; in Epe it felt slightly emphatic. That said, the slight didacticism seemed intentional an invitation for audiences in this smaller venue to sit with the idea rather than race past it.
Audience response at Epe affirmed this. No applause existed until the curtain fell. Instead, there were attentive silence and reflective breathing —hallmarks of stories that unfold inside viewers rather than merely before them. Those sold-out performances at Igando were echoes; in Epe, the theatre stopped being a venue and became a vessel.
What does this iteration tell us about Okelola? That in his first original work, he has not simply written a play —he has begun to understand how to own space, time, silence, and symbolism. He is no longer carrying the weight of the canon; he is crafting his own shape. Ashes of Promise is less a final product than an invitation, asking both audiences and its director to consider what is remembered, what is broken, and what is worth restrung again.
If in Igando the flame was kindled, in Epe it flared. And if ashes indeed remember, then they carry a promise quiet, yet luminous.
In a powerful tribute to family, resilience, and community leadership, Nicki Moore Media Production hosted its annual Father’s Day and Women’s Recognition Awards in London, celebrating outstanding fathers and exceptional women across the African Diaspora.
Held in London, the founder, Nicki Moore, believes that fathers often go unnoticed despite their vital roles as providers, protectors, mentors, and role models.
She said: ” Father’s are less celebrated in our communities, yet there are so many amazing father’s with powerful, positive stories that deserves to be shared.
In many African Diaspora families, father’s play vital roles as providers, protectors, mentors and role models but their contributions often go unnoticed in mainstream narratives.”
The event aims to share inspiring stories of fatherhood, leadership, and resilience, promoting positive representation and breaking negative stereotypes.
The celebration encourages family unity and generational bonding, recognizing men who go above and beyond for their families and communities.
The Father’s Day celebration also recognizes and honors exceptional women in the multicultural community who are making significant contributions across various sectors.
The event featured awards, testimonies, entertainment, and heartfelt moments, uplifting both fathers and women in the multicultural community.
Some notable awardees and performers include: High Chief Onyema Anthony Ajiduah as Father of the Day; Christian Nworah; Orobosa Phillip (artist); HRH Cllr. Dr. Dominic Mbang, Chief Ambassador Cllr. Caroline Kalu, HRM Florence Okonkwo (Queen of red carpet), HRH Princess Toyin Onagoruwa; Prince George Fadiora; Dr. Olusegun Okeowo; Amb. Yvette; Lady Titi Jacobs- Aseroma; Amb. Collins Archie -Pearce; Sir Lucky Ekenonmaghele ; Gclass; Mr. Nosa Obaseki Agbonifo; Agnes Pratt; Fakon Empire; Hon. Chris Okeke; Dr. Abbey Akinoshun; Oszuwa Omede; OSAZUWA Ayan De First; Mr. Culture and many more.
Supported by HRM Florence Okonkwo, Lemfi Money Transfer, Mirak Global Services, and Ambassador Yvette Philbert, the Nicki Moore Media Awards continue to serve as a platform for uplifting narratives and strengthening multicultural identities.
Rising Nigerian content creator, Oluwaseyi Kafidipe, popularly known as C_boxer, has opened up about the powerful influence of comedy stars Funnybros and Sabinus on his creative journey. With a growing fanbase and a unique voice in the digital entertainment space, C_boxer is quickly becoming one to watch among Nigeria’s new generation of online entertainers.
In a recent interview, C_boxer praised the likes of Funnybros, Sabinus, and Broda Shaggi for their remarkable creativity, relentless consistency, and deep connection with their audiences. He described these qualities as the gold standard for content creators, and said they have played a vital role in shaping his own ambitions.
“Their creativity, consistency, and ability to connect with audiences are amazing. They’ve set a standard I look up to, and I would absolutely love to collaborate with them in the future. Working with people I admire would be a dream come true and a big step in my career,” he said.
C_boxer, whose real name is Oluwaseyi Kafidipe, graduated from Moshood Abiola Polytechnic with a National Diploma. He credits his educational journey not only for academic growth but also for instilling in him the resilience and determination needed to chase his dreams.
Reflecting on his early years, he shared that his passion for acting and performing began in childhood. “Ever since I was a child, I dreamed of being seen on screens—whether in movies, TV, or online. Watching other people break out and succeed through content creation inspired me a lot.
Seeing their journeys made me believe that I, too, could make an impact and entertain people,” he explained.
C_boxer’s journey highlights how inspiration and determination can shape a person’s destiny. By looking up to trailblazers and boldly chasing his own dreams, he shows that dedication, passion, and having the right mentors can help anyone overcome obstacles and achieve success. As he forges ahead, C_boxer serves as a reminder to others: believe in yourself, stay committed to your goals, and never let go of your dreams. After all, every remarkable achievement starts with a simple spark of inspiration.
Renowned Nigerian marketing strategist, Anietie Udoh, has been announced as a jury member for the 2025 edition of the Effie Awards South Africa. The appointment underscores his growing reputation as one of Africa’s leading voices in marketing effectiveness and strategic communications.
The Effie Awards, hosted in South Africa by the Association for Communication and Advertising (ACA), is widely regarded as the global benchmark for excellence in marketing effectiveness. Themed “You Can’t Fake Real Impact” for 2025, this year’s awards will honour campaigns that combine powerful insights, bold creativity, and proven business results.
Udoh joins a diverse panel comprising top professionals across brand management, advertising agencies, media, strategy, and market research. Judges were selected based on their deep expertise, proven track record, and commitment to driving effective marketing.
This appointment adds to a growing list of international accolades for Udoh in 2025. Most recently, he was named a Grand Jury Member for the AME Awards 2025 (Advertising and Marketing Effectiveness Awards), a prestigious global platform that recognises innovative and results-driven advertising. He was also appointed to the Global Jury Panel of the 9th Native Advertising Awards 2025, which celebrates the best in native and content-driven advertising across the world.
Currently serving as Divisional Director at Marketing Edge Publications, Udoh has nearly two decades of experience spanning brand strategy, market insights, advertising, and media relations. He is widely respected for his ability to merge creative ideas with commercial impact, making him a trusted advisor and thought leader in the African marketing ecosystem.
Reacting to his latest appointment, Udoh said: “It is an honour to serve as a juror for the Effie Awards South Africa. I look forward to celebrating campaigns that truly move the needle in terms of business results and brand relevance.”
Round One judging for the Effie Awards South Africa will take place on July 10, followed by Round Two on July 24. Winners will be announced at a Gala event scheduled for October 23, 2025.
With this series of high-profile international jury roles, Anietie Udoh continues to elevate Africa’s presence on the global marketing stage.
The Netherlands government said it has returned all stolen Benin artefacts in the country.
It said it was up to the rest of the European countries to return artefacts it their museums.
General Director of Wereld Musuem, Marieke Van Bommel, spoke when 119 stolen Benin artefacts were returned to the Palace of the Oba of Benin, Oba Ewuare II.
According to her, “The artefacts are looted and we have a policy in Netherlands to bring them back. We are bringing back 119 artefacts. We don’t have more. These are the collections in the Netherlands. There are more collections in Europe but that is not up to us. They have been with us over 100 years.”
Receiving the artefacts, Oba Ewuare II said God and the ancestors answered his prayers against those that planned to re-loot the artefacts.
Oba Ewuare II said there was an international cartel within the country that wanted to loot the returned artefacts.
The Benin Monarch said he would not sit on the ancient throne of his ancestors and watch the returned artefacts re-looted.
He said the events of 1897 reduced the Benin Kingdom to significant level that killed the courage, bravery and morale of Benin youths.
According to him, “I thank President Bola Tinubu for supporting and committing to the efforts former President Buhari put in place to ensure the artifacts are not relooted because there were groups in this country believed to be an international cartel that had all sorts of conspiracy to re-loot our artifacts. They stole and burnt out Kingdom. They killed my people, their morale and try to kill their spirit and their morale. Today, I lament the fact that the people of Benin Kingdom, the boldness, courage and bravity is still there. Events of 1897 reduced that to significant level that Sometimes when I see my people, they are afraid of the unknown.
“The return of these objects has reawakened the courage we had in our people. We do not want modern day politics, we do not want partisan politics to diminish the courage of our people.
“The Director General of the National Commission for Museums and Monuments has been doing a wonderful work. His predecessor was part of the conspiracy to re-loot our artifacts. We had a running battle in this hall. I addressed my Chiefs in Benin language and I said these artifacts belongs to my ancestors and I will not sit on the ancient throne and watch the artifacts relooted. They rather remain where they are than being relooted. I thank the government of Netherlands for working with us. This is part of the efforts to reawaken the morale and spirit of my people.
“After 1897, the kingdom was reduced. There was a government in this state that wanted to reduce the kingdom more and scatter it. I am angry when I speak about it. Why would anybody as we have managed to retain wanted to scatter it. The youths were courageous and liked the youths of those days. They were not afraid of anybody. I vowed that it will not happen. Not in my reign. Not while I am sitting on this throne. God heard my prayers, my ancestors heard my prayers. This throne is not partisan but I should support what is good for my people.
“I urge the youths to be tough and strong in the face of adversity. This is not for anybody else. It is for my ancestors.”
The Benin Monarch further prayed with his official spectre directing the artefacts to return more artefacts.
The NCMM DG, Olugbile Holloway, said the commission and the Benin Royal Palace was working hard to ensure more artefacts were returned.
Governor Monday Okpebholo who was represented by his Secretary to State Government, Barr. Musa Ikhilor, said his administration would continue to build necessary infrastructure to preserve the returned artefacts as well as collaborate with the federal government to improve the storage system for the artefacts.
