The Nation Newspaper

Category: Arts & Life

  • UniLife premieres in Lagos, stirs movie buffs interest

    UniLife premieres in Lagos, stirs movie buffs interest

    Two hours before the official launch of the Nollywood drama series, UniLife, guests including cast, crew, entertainment industry leaders, influencers and press were on red carpet last Sunday to celebrate the debut of a series poised to redefine young adult storytelling in Africa. The colourful session featured interviews, photos, and behind-the-scenes conversations with the creative minds behind UniLife.

    The event organizsed by 9jaStudio Entertainment at its Lagos production studio facility in Magodo, Lagos was streamed live on YouTube 9jaStudio Channel for guests to watch. But at 6 pm, guests were all seated in a banquet style setting within the double volume studio space. They were glued to their screens and watched back to back the first three gripping episodes of UniLife (where secrets, love and danger collide) on their mobile phones. The crowd’s reaction ranged from emotional to electrified, confirming the show’s resonance with young audiences hungry for relatable, high-stakes drama.

    UniLife follows the lives of Nigerian university students as they navigate the highs and lows of campus life. But what begins as a coming-of-age drama quickly unravels into a compelling thriller when a missing student’s mysterious death sends shockwaves throughout the campus. 9jaStudio Founder, Producer and Showrunner Mr. Frank Adekunle Macaulay said the series is more than just entertainment adding that it tackles real social issues on Nigerian campuses.

    “It’s about telling the truth of our youth with courage, creativity, and conviction. UniLife dives deep into the real life wahala: peer pressure, cultism, religion, class struggles, the hustle for identity that take place on our campuses,” he added.

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    The event also served as a showcase for the fresh talent emerging from 9jaStudio’s Screen Acting Boot Camp (SABC), where many of the cast were trained in specific screen acting techniques. With a majority Gen-Z cast and production team, UniLife proudly represents a new era in Nollywood.

    According to Macaulay, following the premiere, new episodes will drop every Thursday in June, starting with Episode 4 on June 5th and culminating with the drama

    tic series finale, Episode 7, on June 26th. Macaulay brings over two decades of experience working with young creatives. His vision is rooted in portraying real Nigerian youth stories often ignored by the mainstream. 9jaStudio aims to deliver bold, authentic youth content to amplify the voices of the next generation.

    He disclosed that 9jaStudio Entertainment runs a unique and bespoke Screen Acting Boot Camp (SABC) training that serves as a talent launch-pad, equipping aspiring actors and filmmakers with hands-on immersive experiences and direct entry into the industry.

  • When ECOWAS celebrated with National Troupe

    When ECOWAS celebrated with National Troupe

    It was a rare moment for both ECOWAS member states and the National Troupe of Nigeria. As the Economic Communities of West African States (ECOWAS) celebrated its 50 years anniversary in Lagos recently, the National Troupe of Nigeria was the only cultural troupe invited to the occasion. In this encounter with Emmanuel Adejumo, the acting head of dance of the Troupe, he tells EDOZIE UDEZE the importance of that outing and lots more issues where the Troupe has proved its credibility.

    It takes only the intelligence of a thorough-bred artiste to produce a story, a dance-drama out of the formation of Economic Communities of West African States (ECOWAS). That was exactly what the National Troupe of Nigeria was able to do recently when it was able to produce a stage drama that revolved around dances to mark ECOWAS 50 years anniversary. Although the dances were brief presented within 15 minutes or so, a reasonable impression was created on stage where the dances represented all the cultural properties of the 15 member nations.

    Minus Niger, Mali and Burkina Faso that have pulled out of ECOWAS, the dances were poignant, with each stage representing the ideals of the spirit of the formation of this sub regional body that stands for West Africa and its peoples. In an interview with Emmanuel Adejumo, the man who heads the dance department of the National Troupe, it is usually the role of the Troupe to represent the government of Nigeria well when it comes to dances, dramas, and stage performances. “Yes”, he said while justifying the role of the Troupe in the ECOWAS dance outing, “it is our responsibility as the apex dance ambassadors of Nigeria to present dances across Nigeria and where necessary beyond Nigeria also. That is the major reason the Troupe was established. It is to serve as a cultural and dance ambassadors of Nigeria. We constantly take the nation’s different dances to different places representing Nigeria and showcasing rich cultural heritages of this great nation. And thank God our able Artistic Director Haja Kaltume Bulama Gana is up to the task.”

    Bulama according to Adejumo, brings life and fresh ideas into the Troupe all the time. “And we have no choice but to keep performing, doing our very best to keep the Troupe active, alive and relevant”. Adejumo, son of the legendary Baba Sala, said “As you know, National Troupe of Nigeria does all kinds of productions. We have just done the ECOWAS production. In fact, this year, we have done a lot in terms of dances, stage performances and all. We were involved in the Mela show in India where the Troupe spent about three weeks. It was an ample time where we represented Nigeria in that global show. It was great because Nigeria was one of the few nations invited to participate in the Mela international programme.

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    “We have had several shows in Abuja. We have more to showcase before the end of the year. With the new artistes we have recruited and the wonderful drummers we have also, the Troupe is ever wired to do its best. The Mela international festival in India is a yearly festival. This year it happened in February. We have also had some collaborations this year with other troupes and outfits. We have had collaborations with Guild of Nigerian Dancers, Drummers and so on. We celebrated World Dance Day where the Troupe performed very well. The outing to celebrate the ECOWAS was one of the best moments to prove ourselves. It was mainly a choreographed stage dance drama, situating the vision and mission of the ECOWAS and its achievements so far. It was great, it was really good to see how great we have come to be as dance ambassadors of Nigeria”.

    With about forty cast and crew and more than ten drums and drummers, the percussive sounds of the instruments resounded deep inside the Eko Hotel, venue of the programme. The sounds woke up the spirits of West African leaders and what they believed in or knew as the dance elements of their peoples. Adejumo said “ECOWAS @50 was a rare moment for the Troupe. Indeed the Troupe was the only cultural group that was allowed to perform. It was a full performance during which we had dance drama in the first stage and the second stage was the choreography of the cultural dances of the member states. Our artistes are ever ready to answer national calls. For now we have camps in Lagos and Abuja. Our motto now is: National Troupe of Nigeria, we move; we dance. Indeed, now we fly; we fly higher with different dances and dramas of Nigeria”.

    The event took place at the prestigious Eko Hotel, Lagos. It was a golden opportunity to review and reappraise and celebrate this milestone by the West African nations. At the occasion, some founders of the fifty-year-old economic body were present. Those who are now dead were remembered and honoured. The moment of the dances also helped to shed more light on what keeps the peoples bound together as one.

  • Omatseye’s Juju Eyes excites LASU students

    Omatseye’s Juju Eyes excites LASU students

    The town-gown relationship between the Lagos State University, Ojo and the media industry, received a big boost when author, columnist and Chairman Editorial Board of The Nation Newspaper, Mr. Sam Omatseye held a reading session of his recent book Juju Eyes.

    The event organised in collaboration with the Faculty of Communication and Media Studies of the university, was a continuation of the partnership between the author and the faculty in supporting progressive academic programmes of the faculty. One of the lecture halls, venue of the reading, was filled to capacity by students, lecturers, book enthusiasts and friends of the author, including the publisher. The two-hour session was coordinated by Prof Tunde Akanni, one of the senior lecturers at the Journalism Department, had in attendance Prof Rachel Bello of English Department, Dr Suleiman Hassan, Journalism Department,  Dr Ganiyat Tijani-Adenle and Mr Adejobi Oladele Adetunji, of English Department among others.

     The audience defied the morning rain fall last Wednesday to quench their thirst to know first hand, the thrust of the new book, Juju Eyes. It is a story that situates Nigeria and some other climes in the model way of corruption, exposing all elements of evil that bestride a society.

    The reading was the first of a three-leg reading session that will also hold on June 17, at the Faculty of Arts Boardroom, University of Lagos, Akoka, Lagos @11.00am and on Sunday, June 22, at Roving Heights Bookstore, Landmark Event Centre, Oniru, Victoria Island, Lagos @4.00pm.

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    Published by Sunshot Associates, Juju Eyes has its thematic concept rooted in Africa’s mythic village scene but which morphs into modern city dwelling and how these two intersect. Juju Eyes follows the life of a young lady, Shay who like Nigeria, suffers betrayal from a close quarter and is made to live a life of many lies and abuses just to survive.

    Omatseye who read from selected sections of the book pledged to reward any student

    who can write the best news report on the event with one hundred thousand naira. ” I pledge to give one hundred thousand naira to the best news report by any student present at today’s reading,” he declared.

    Omatseye described “Juju Eyes” as an ‘intersection of vanity and superstition, and how a rebel in the Nigerian soul wields this intersection often to our own hurt. In every sphere of our lives, we make gods and try to kill them until we realise there is no such thing as divine suicide.’

    In his usual magnanimity, the author reduced the cost of the book from ten thousand naira per copy to two thousand five hundred naira in order for the students to buy the books.

    Fielding questions from the audience, Omatseye disclosed how he came about the storyline of the book as well as its title.

    “I got this expression from the steward of one of my friends in Port Harcourt.  I heard him call his girlfriend juju eyes.  And I asked him, why would you call your girlfriend in juju eyes? He said it is because they worship her as juju eyes,” he said.

    He recalled that at the onset he had wanted to write on a very prominent man who committed so many wrongs yet very successful and rich. The focus however changed when he encountered the story idea that morphed into Juju Eyes with Shay as one of the leading characters.

    He noted that the book is a story of women, that even women would not want to say themselves.  And about men, that men would not want to say themselves.

    “It’s a story of miscitement, of lies. After all, the madness put in there is a very terrible thing.

    One of the most fascinating characters in the novel is the mother of Shay, who is more of a villain than Olampe because she leaves her daughter to the hands of the lord. Just because she is benefiting from the corruption. And she lets her daughter go. And then after a while, she is feeling guilty.”

    Dean Faculty of Communication and Media Studies, (FCMS) Prof Jide Jimoh, the chief host of the event, described the town-gown relationship between students and the industry as a critical aspect of learning and meaningful development of both students and the host community.

    He highlighted some of the challenges of information technology era where students no longer engage with the public, their senior  professionals and practitioners on the field.

    He recalled that at the inception of the faculty, it was resolved that town and gown relationship would be given priority.  “And you can’t expect less.  Most of us that started this faculty and staff were practitioners, journalists, media, PR, advertising practitioners.

    “We feel that we can marry this practical experience with the theory. So we can see the transition, we can see the movement. But we are also being fought by ethical and professional challenges that go with writing.  “The internet or social media has made a journalist of everybody. Well, we are not saying journalism should be a closed shop. But, if you want to learn mechanics, you should be able to distinguish between 12 and  13 spanners.  So you need to at least learn from those who are there or who were there before you,” he added.

    He stressed that there are some ethical and professional abuses, which he said,  are why people post nude and scary  pictures capable of defying society because they do not have that ethical and professional background.

    He assured that the faculty will continue to teach both the theory and practise of the profession.  “So when we have the opportunity to have a practitioner speak to us, we don’t take it for granted,” he said.

  • Dele Jegede at 80: A life well drawn

    Dele Jegede at 80: A life well drawn

    By Tayo Fatunla

    Cartoonists Association of Nigeria CARTAN are pulling all stops to mark the 80th birthday of Professor. Dele Jegede who has turned 80. An exhibition featuring cartoons, caricatures, and drawings of Dele Jegede by Nigerian cartoonists, artists and caricaturists in collaboration with Didi Museum will be on display, in celebration of Professor Dele Jegede at the Didi Museum in Lagos. Cartoonists such as Mike Asukwo, Tayo Fatunla, Dada Adekola (President of CARTAN) will also be showcasing their works at the Museum.

    Dr. Dele Jegede got his first job as a youngster with the late Engineer Idowu Akinde was Executive Engineer at PWD. This provided him with the moral and financial stability to enrol at the prestigious Yaba College of Technology, where he was influenced by many instructors, including Adebayo and Yusuf Grillo.

    There are icons and there are icons but when it comes to arts and cartoons in Nigeria, Dr. Dele Jegede is a living Icon and a legend that history will be kind to and remember well for his contributions immensely to the development of the Nigerian Society and contemporary Nigerian art. Dele Jegede is a Nigerian American painter, art historian, cartoonist, author, curator and teacher. He drew editorial cartoons for Nigeria’s Daily Times and the popular strip Kole the Menace for Sunday Times.  He later relocated to the US to continue in his beloved carer. He is a fan of my work and my illustrated OUR ROOTS that documents Black History. He has now clocked 80 years on earth and the art world is celebrating a long fruitful life.

    Dele Jegede enrolled at Yaba College of Technology in Lagos, where he was influenced by instructors like Adebayo and Yusuf Grillo.

    Jegede was well-known as a comic artist and editorial cartoonist, Jegede’s works were the daily comics ‘Flower Power’ and Kole the Menace. Although his active career in the cartoon world was for about 20 years, he still had a significant impact on the development of Nigerian newspaper cartoons locally and nationally.

    Jegede worked as a newspaper cartoonist and art editor for The Daily Times of Nigeria and its sister publication The Sunday Times. Incidentally, his cartoons were all published in the mid-1980s. His Kole the Menace cartoon strips went through a period of Kole with caps on and without caps. Daily Times one of Nigeria’s foremost national newspapers published a cartoon compilation of Kole into a small booklet. In it, Kole was with an assorted range of wears, including a variety of hats/caps. Jegede also published satirical political cartoons in the Sunday Times and Lagos Weekend under the titles ‘Pocket Cartoons’, ‘Deles Opinion’, ‘Weekend Cartoons’ or simply under his own name.

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    The Sunday Concord newspaper published his cartoons in colour under the title ‘Funny Cords’. This was in fact the first colour Sunday comics section in a Nigerian newspaper.

    Kole the menace started in the Sunday times in 1975 and ran till 1979 when Dr Jegede left Nigeria for Indiana university in the US for his graduate studies. Even though he left the Daily Times in December 1976, where he assumed his new position at University of Lagos in January 1977, he continued producing Kole cartoons after he had left the newspaper up till 1979.

    Jegede was born in Ikere Ekiti 80 years ago and he actively grew up in home that helped shaped his future as an artist. He has done several exhibitions and the most recent was un

    Few people have shaped their field as profoundly as dele jegede has influenced the Nigerian arts scene.  His innovative styles and techniques stand out amongst many. He has been of great encouragement to young and older cartoonists. As a Board member of CARTAN, he has immeasurably supported Nigeria’s Cartoonists association physically and financially, as well as intervening when issues arose within CARTAN. His involvement and sometimes participation in CARTAN’s events is exceptional and has been of great encouragement and in the process has been a blessing to CARTAN through the years.

    Jegede has remained dedicated to his profession. Yes, he still paints at 80.  And at present he has a solo exhibition at the Calabar Museum in New York titled – Protestations: délé jẹ́gẹ́dẹ́, Art, and Activism curated by Atim Annette Oton. The solo exhibition are paintings he has  done over the last five years. This 80th birthday celebrates much more than eight decades of life. It marks a career that has given hope to up and coming artists and cartoonists across the globe.

    A life well drawn exhibition runs from the21st – 27th June 2025 at the Didi Museum – 175 Akin Adesola Street, Victoria Island.

    • Fatunla is an Cartoonist  and Comic artist of African diaspora

  • Mc Larry J set to host heartwarming Father’s Day celebration for families

    Mc Larry J set to host heartwarming Father’s Day celebration for families

    For the past five years, Mc Larry J has been at the forefront of celebrating family, love, and togetherness in Nigeria and beyond. His annual events, from Mother’s Day to his signature comedy showcases, have become cherished gatherings that unite communities and strengthen family bonds.

    This year, Mc Larry J is set to host another unforgettable Father’s Day celebration at The Covenant Nation in Lekki. On Sunday, June 15, 2025, from 3 PM, families and friends are invited to immerse themselves in an afternoon filled with music, comedy, worship, and dance, all offered completely free of charge.

    With a dynamic lineup including Beejaysax, Akpororo, Kennyblaq, Phronesis, Ibquake, Khemmiesings, and Damola, the event promises an atmosphere of joy and gratitude.

    More than just a comedy show, Mc Larry J’s Father’s Day celebration is a heartfelt tribute to the fathers, mentors, and role models who have shaped our lives. He emphasizes that the event is not only for fathers but also for mothers who hope to inspire their sons to become exemplary fathers in the future.

    “They have given us so much. It is time to give something back,” Mc Larry J shares. “This celebration is a small token of our appreciation, and a reminder that fatherhood, in all its forms, deserves to be seen, celebrated, and applauded.”

    Guests are encouraged to bring along their fathers, uncles, mentors, or any father figure to share in this soul-refreshing experience. Whether you come for the laughter, the uplifting music, or the powerful sense of family, Mc Larry J’s Father’s Day event in Lekki is set to be a celebration you simply cannot afford to miss.

  • Reframing Heritage Through Word and Lens: A Critique of Emmanuel Solate’s Kano Durbar Festival Work

    Reframing Heritage Through Word and Lens: A Critique of Emmanuel Solate’s Kano Durbar Festival Work

    By Awin Daniel – Visual Arts Curator & Culture Writer

    As someone who has had the privilege of collaborating with Emmanuel Solate, most recently as the curator for his Cultural Canvas 2025 Art and Festival Exhibition, I have witnessed firsthand his unwavering dedication to cultural storytelling. In his essay, “Kano Durbar Festival — A Majestic Celebration of Culture and Heritage,” Solate continues his lifelong commitment to preserving Nigeria’s intangible heritage through compelling documentation and critical reflection.

    This article is more than a descriptive account of the Durbar; it functions as a cultural artefact in its own right, carefully composed, richly informed, and deeply respectful of tradition. Solate doesn’t merely capture the visuals of the Durbar; he contextualises its socio-political, historical, and spiritual significance within the broader discourse of cultural continuity.

    What stands out most is his ability to balance narrative integrity with intellectual depth. The piece is grounded in detailed observation yet layered with insight into how the Durbar functions as both a symbol of authority and an expression of community identity. His prose reflects a reverence for the festival without romanticising it, and he makes room for readers unfamiliar with Hausa ceremonial traditions to connect with the cultural weight behind the pageantry.

    As a curator, I was especially struck by how Emmanuel engages space in his writing, much like he does in exhibitions. He moves through layers of history, visual symbolism, and lived experience with a sense of rhythm that mirrors the festival’s processions. His language evokes the sensory detail of the horses, the garments, the chants, and the crowds, making his words almost tactile.

    His ability to translate complex cultural practices into accessible and meaningful reflections is part of what makes him such a vital cultural documentarian. Articles like this help reassert the importance of traditional festivals in contemporary nationhood, identity, and art.

    Kano Durbar Festival — A Majestic Celebration of Culture and Heritage affirms Emmanuel Solate’s reputation not just as a cultural advocate but as a masterful storyteller. His work continues to elevate Nigerian culture on a global stage, giving memory shape, voice, and resonance. This critique is both a celebration of his vision and a call for broader recognition of the critical role he plays in heritage preservation.

  • Mc Larry J celebrates fathers with ‘Father & Co’ event

    Mc Larry J celebrates fathers with ‘Father & Co’ event

    Alibaba, Akpororo, Damola, will on Sunday, June 14, 2025, join celebrated Nigerian comedian, Olanrewaju Gregory popularly known as Larry J in an afternoon of comedy, deliberation and advocacy.

    The special comedy show to mark this year’s Father’s Day will also feature Beejay Sax, Khemmiesings and tens of others

    Titled Father and Co, the free show will be staged at the Covenant Temple, Lekki Lagos. It will also feature talk session

    This is not just about comedy; it’s about putting attention on the father. Fathers are less celebrated. The father takes his wife out on Mother’s Day, the father takes the children out on Children’s Day and the wife and the children expect the father to take them out on Father’s Day, meanwhile, daddy is meant to be appreciated.

    “We have more men who commit suicide than women because they feel life is not worth living when they are not being appreciated.

    “People are all about feminism, equality but forget about the men so, we should look for a medium to make men relax, make them understand that they are not alone in their struggle. Some men feel nobody understands them and they live for others and no one cares.

     “Men should know that they are allowed to cry instead of manning up. There is man up but no woman up and when they say man up, they mean you should swallow whatever problem you think you are going through but those problems are hurting us and there is nobody to tell; the person you are supposed to tell is the person giving you the problem.

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     “This is not just a show for men but also for people who want to appreciate their fathers. We will also be sharing men’s point of views as regards to things that women want. Their men will tell the women what we actually want because there is nothing like peace for men. Men want peace and at times, peace could be money, peace could mean living a man alone to get himself together, it could mean good food, not shoving a man’s flaws on his face. People tend to think men love their mother more but it’s not so; our mothers love us the way we are but our wives or girlfriends do not love us the way we are, they want to change us but most of the time we know we need to change and we are working towards it but we don’t want anyone to bring it to our faces, opening up the wounds.”

  • Absa, SANAVA partner on Taofeek’s solo exhibition

    Absa, SANAVA partner on Taofeek’s solo exhibition

    In partnership with the South African National Association for the Visual Arts (SANAVA), Absa is set to host Thorns and Crown, a solo exhibition by Badru Taofeek, one of the 2022 Absa L’Atelier Ambassadors. 

    The exhibition, described as a powerful and intricately constructed showcase, holds at Alliance Française in Lagos and forms part of Absa’s 2025 Pan-African Gallery Exhibition Series — a platform spotlighting rising voices in African contemporary art across five nations.

    Now in its 39th year, Absa L’Atelier is one of Africa’s longest-running and most prestigious visual arts development programmes and as part of their L’Atelier journey, each Ambassador receives funding, mentorship and a fully sponsored solo exhibition, serving as a professional platform designed to elevate their practice and bring their stories to new audiences.

    Thorns and Crown is a deeply reflective body of work that interrogates the unseen labour of leadership and the delicate balance between visibility, expectation and inner struggle. Through a richly-layered collection of hand embroidery, bronze sculpture and textile installations, Taofeek invites viewers into an emotional landscape where reverence and responsibility coexist.

    At the centre of the exhibition is the Yoruba beaded crown — a traditional emblem of power, beauty and cultural continuity. 

    In Taofeek’s hands, however, the crown becomes something more: a symbol of sacrifice, loneliness and unspoken emotional weight. Stitched human forms rendered in skin-tone threads, trousers adorned with Adire Eleko patterns, and contemplative bronze figures create a symbolic vocabulary of tension and resilience.

    On the exhibition, Taofeek said: “To lead is to stand at the centre, but often alone, adding: “These works reflect that solitude — the beauty and the burden. “The beaded crown has always fascinated me. It holds history and honour, but also pressure. In this body of work, I’ve tried to unpick the duality of leadership — how it is both admired and quietly endured.”

    More than a personal statement, the exhibition is a contribution to a broader pan-African narrative that Absa is committed to shaping through its L’Atelier platform.

    “Badru’s Thorns and Crown is a poignant and timely exploration of identity, vulnerability and tradition,” said Sadiq Abu, Country Chief Executive Officer of the Absa Group in Nigeria. 

    “It’s a body of work that asks us to look beyond the surface of success and consider the emotional weight behind leadership — a theme that resonates not only in the cultural space but also within the broader business and societal context in Nigeria today.

    ” At Absa, we believe that creativity and commerce are not mutually exclusive — both are vital drivers of progress and innovation. Through the Absa L’Atelier, we are proud to support artists like Badru Taofeek who are reshaping narratives and challenging perceptions. 

    “This exhibition reflects the richness of Nigerian talent and underscores our commitment to empowering Africa’s future leaders — in the arts, in business and beyond.

    “At Absa, we believe that sustainable progress is built on a foundation of integrity, resilience, and a deep appreciation for our cultural heritage, adds Adedotun Sulaiman, Chairman, Absa Group Nigeria. “Badru Taofeek’s ‘Thorns and Crown’ exhibition embodies these values, offering a poignant exploration of leadership’s dualities—its burdens and its honours. Through this platform, we reaffirm our commitment to empowering voices that challenge perceptions and inspire transformation across Africa.”

    Marc Brébant, Director of Alliance Française de Lagos, added; “With over 300 cultural events proposed to 50,000 people each year, Alliance Française de Lagos is one of the most important cultural centres on the continent. At Alliance Française de Lagos, we believe every exhibition is a chance to tell our stories differently. 

    “Our partnership with Absa, now in its second year, continues to create meaningful platforms for emerging African artists like Badru Taofeek to share their stories, challenge narratives, and inspire audiences. 

    “We are especially proud to partner with the Absa L’Atelier programme, which for nearly 40 years has played a pivotal role in promoting pan-African emerging artists to wider audiences. 

    “This solo exhibition is a celebration of Badru’s creative journey and a testament to the richness of cross-cultural exchange between Nigeria, South Africa, and the wider continent. We are honoured to be part of this initiative nurturing the next generation of African voices in the arts.”

    The exhibition will run from June 7 to 28 June, 2025 at Alliance Française in Ikoyi, Lagos. Featuring the artiste and 2022 Absa L’Atelier Ambassador, Badru Taofeek, the exhibition will be free and open to the public.

    Further exhibitions in the series will feature Emmanuel Idowu, a 2023 Absa L’Atelier Ambassador, at the same venue in Lagos in July as he offers an introspective take on modern African identity, blending storytelling, symbolism, and vibrant colour to interrogate notions of belonging, memory, and transformation within the city’s ever-changing landscape. 

    Also on the roster is Gandor Collins, a 2022 Absa L’Atelier Ambassador, whose work bridges the historical and the contemporary, drawing from Ghana’s past to reflect on its evolving artistic future at the Dikan Art Centre, Ghana in July and Adelheid Franciwicz, a 2021 Absa L’Atelier Ambassador, slated for AVA Gallery in Cape Town, South Africa in August who is exploring themes of identity, displacement, and belonging in an exhibition that reflects on the personal and collective architectures of home.

    Bulumko Mbete, a 2023 Absa L’Atelier Gerard Sekoto winner will be up at the Willem Humpries Art Gallery, Kimberley in September as she continues her exploration of memory, inheritance, and material storytelling with her solo exhibition, Like the sky, I’ve been too quiet while Joe Gayi, a 2023 Absa L’Atelier Ambassador will hold an exhibition at the Amasaka Gallery in Uganda in November, focusing on sensitivity and detail as he captures the essence of Uganda’s natural and cultural landscapes.

    Edward Lawerh, a 2023 Absa L’Atelier Ambassador, is also billed to exhibit at the Dikan Art Centre in Ghana in November), with works that consider the intersection of tradition and modernity while exploring how knowledge, symbols, and practice adapt in the digital age.

  • Okoro launches “Go talent hunt season one” to discover Nigeria’s next photography talents

    Okoro launches “Go talent hunt season one” to discover Nigeria’s next photography talents

    Celebrated  photographer George Okoro has announced the launch of Go Talent Hunt: Season One, a nationwide photography competition designed to uncover and empower emerging talent across the country. 

    The initiative, which begins this June, aims to democratize photography by welcoming entries from all young creatives, whether they use smartphones or professional DSLR cameras.  

    The six-week competition will unfold on social media, where participants will face weekly creative challenges testing their technical skills and storytelling abilities.

     A judge panel of industry experts will evaluate submissions alongside public votes, with the ultimate winner walking away with a grand prize of 10 million naira. Registration for the talent hunt opened on June 9 and will close on June 27, 2025.  

    Speaking at the launch event, Okoro emphasised his belief that talent transcends equipment or formal training. 

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    “Through Go Talent Hunt, we want to nurture the next generation of photographers who will shape Nigeria’s visual future,” he said. “This isn’t just about winning prizes—it’s about creating opportunities for young creatives to learn, grow, and establish themselves in the industry.”  

    The organisers are calling on media organisations, art communities, and the general public to support the initiative, which promises to showcase the depth and diversity of Nigeria’s photography talent. 

    All competition updates, including task announcements and winner reveals, will be shared through George Okoro’s official social media channels.  

    This landmark competition represents a significant investment in Nigeria’s creative sector, offering both financial support and career development opportunities for aspiring photographers nationwide.

  • Five project holders selected for partner pitches as 25 Studios attend MIFA 2025

    Five project holders selected for partner pitches as 25 Studios attend MIFA 2025

    Geared to nurture creatives and the local creative industry, the Annecy International Animation Market (MIFA), has once again turned its spotlight on Nigeria.

    Its commitment to fostering emerging talent from the country is a reflection of the growing influence of Nigeria’s animation sector on the job market and national economy.

    To this end, Racheal Afor, Oluwatitomi Olawole, Adeoye Adetunji, Tonye Faloughi-Ekezie and Ewhomazino John Oporiopo have been selected as the top five finalists with the most outstanding creative animation projects in Nigeria. They will represent the country at the Annecy International Animation Film Market in France, where they will pitch their projects at this year’s edition.

    Recognised as the premier global event for animated films, MIFA takes place annually in the city of Annecy, nestled in the French Alps, bringing together over 17,000 industry professionals from across the globe.

    In partnership with Animation Nigeria, the French Embassy and the Institut français in Nigeria, a competitive pitching workshop was organised in Lagos last month.

    Five Nigerian animation studios emerged as winners and were awarded an all-expenses-paid trip to attend the festival. These studios will pitch their projects to a global audience as part of the market’s focus on Nigeria.

    Véronique Encrenaz, Head of MIFA and Sylvain Grain, Head of MIFA Talent Projects, both said that for several years, MIFA has maintained a close watch on the evolution of the animation industry across the African continent, with Nigeria consistently distinguishing itself through its remarkable creative dynamism.

    The MIFA Campus workshops, conducted in collaboration with both local and French partners, have provided valuable insight into the presence of highly talented creators within the country. These engagements have also underscored the necessity for structured and sustained support to equip these professionals for the rigours of an increasingly competitive global market.

    MIFA remains committed to fostering this talent by encouraging the refinement of their artistic expression and narrative approach, thereby enabling them to emerge from the process better prepared and more resilient in the face of international industry standards.

    For the fourth consecutive year, the French Embassy in Nigeria is also providing a dedicated national pavilion for Nigerian animation studios at MIFA.

    Organised in collaboration with Animation Nigeria, this stand will showcase more than twenty studios, offering them the opportunity to pitch their projects to French and international industry stakeholders.

    Christophe Pécot, Regional Audiovisual Attaché at the French Embassy in Nigeria, said, “This marks the fourth time our support for the Nigerian animation industry has been made possible through targeted funding. This year, the ‘Création Africa’ program enables us to support entrepreneurship within the cultural and creative industries. Funded by the French Ministry for Europe and Foreign Affairs for an 18-month period, the initiative is focused on building capacity and fostering professional development in the sector.

    Since 2022, three Franco-Nigerian co-productions have been signed. We hope that, once again this year, our efforts will help foster new collaborations.”

    Mbuotidem Johnson, representative of Animation Nigeria, expressed his appreciation: “As a network of skilled professionals, Animation Nigeria is deeply grateful for our ongoing partnership with the French government, which has played a vital role in nurturing the local animation industry and creating significant opportunities for our members.

    This collaboration has allowed us to showcase our work on the global stage and positioned Nigerian animation prominently on the world map. It has also facilitated training in critical skills and enhanced collaboration within the industry. Through these efforts, the perception of Nigerian animation is changing, and the world is taking notice. Our inclusion in the Annecy focus on Nigeria is a testament to that progress. As the African proverb goes, ‘It takes a village to raise a child.’ We recognise that you have been a major part of our village, and for that, we are truly grateful.”