The Nation Newspaper

Category: Arts & Life

  • NIMENA chair Sylvanus bags doctorate, leads MIMA 2026 voting

    NIMENA chair Sylvanus bags doctorate, leads MIMA 2026 voting

    The National Chairman of the Nigerian Institution of Marine Engineers and Naval Architects (NIMENA), Eferebo Sylvanus, has opened the year 2026 with notable accomplishments, earning a doctorate in Naval Architecture and Shipbuilding from the Marine Engineering Department of Rivers State University.

    He has also emerged as the leading nominee for the 2026 Maritime Industry Merit Award (MIMA), alongside other distinguished practitioners. The organisers are expected to announce the date for the conferment of the award in the coming days.

    Engr. Sylvanus, who was elected National Chairman of NIMENA last year in Port Harcourt—an affiliate of the Nigerian Society of Engineers (NSE)—had pledged to elevate the organisation to international prominence. 

    Since then, he has established a journal house dedicated to publishing research and development work aimed at addressing maritime challenges in Nigeria and the sub-region, with the broader goal of contributing to Africa’s development.

    He has also taken steps to address weak regulatory standards and enforcement gaps in the maritime sector, issues that have historically resulted in significant revenue losses for the country. 

    His leadership is currently engaging regulatory agencies, policymakers, and key industry stakeholders to strengthen partnerships and enhance the institution’s profile.

    Meanwhile, friends and associates have extended goodwill messages, congratulating him on both his academic feat and his early professional achievements in the new year.

  • How stylist Swazzi pulled off Tems’ ‘Raindance’ look in less than 24 Hours

    How stylist Swazzi pulled off Tems’ ‘Raindance’ look in less than 24 Hours

    When the visuals for Raindance, Tems’ collaboration with UK rapper Dave, began making the rounds, the styling stood out for its clean, understated, and confident style. Behind that calm finish was a tight, almost frantic process led by stylist Swazzi, who joined the project just a day before filming.

    Swazzi said he was contacted by the team less than 24 hours before the shoot and initially doubted the call was real.

    “A day before the shoot, I was contacted and told they wanted me to style Tems,” he said. “At first, I thought it was a prank, but they asked if I was available. I said yes immediately.”

    Once terms were agreed, he was added to the production group chat, where the mood board for the video was shared. With little time to overthink, he focused on a clear direction.

    “I wanted something sleek and simple,” he said. “I also wanted her in Nigerian designers, not costumes or just custom pieces, but real runway looks from collections.”

    What followed was a long, sleepless night. Swazzi reached out to designers across Lagos, pulling pieces wherever he could. Some of the outfits were not in Tems’ size, but designers worked through the night to make adjustments and deliver by morning.

    “I couldn’t sleep,” he said. “I pulled pieces from every designer I know, even designers who didn’t have her size were able to alter pieces overnight and deliver them the next morning.”

    By the morning of the shoot, the pressure had not eased. While the crew waited at the jetty for the boat to take them to set, deliveries were still coming in. In all, Swazzi had about 10 hours to put everything together, with no fittings and no prior previews.

    Tems had already identified some Nigerian designers whose pieces she wanted for the video, but not all were available. Swazzi sourced what he could, unsure how she would respond to seeing the outfits for the first time on set.

    “That was where the panic came from,” he admitted. “She hadn’t seen them before.”

    The fear, however, quickly disappeared.

    “When she saw the pieces, she loved them, and everything fit perfectly,” he said.

    Swazzi also worked closely with Dave’s team, sharing outfit options for approval, while assistant director Danmbo encouraged him to push for the best possible outcome.

    “It really showed how teamwork works on a project like this,” he said.

    Even after the shoot wrapped, the experience took time to sink in.

    “It didn’t feel real until I saw the video on TV,” he said.

    For Swazzi, Raindance marked a major moment in his career, styling Grammy Award-winning Tems for a global release alongside Dave.

    “It felt like a dream come true,” he said.

    Looking ahead, he says the project has strengthened his resolve to keep pushing African designers onto global platforms, while also working with emerging designers across Europe and beyond.

    “I’m excited about what’s next,” he said. “This is just the beginning.”

  • AFRIMA in glitz, glamour

    AFRIMA in glitz, glamour

    After a memorable festivity that ended 2025 across Africa, the African music industry started the year 2026 with the Africa Music Awards, AFRIMA. The ninth edition of the AFRIMA was held in Lagos, and activities were held between Wednesday, January 7, and Sunday, January 11, Entertainment Editor, Gbenga Bada reports.

    This year’s AFRIMA attracted no fewer than 1,216 artists, delegates and members of the production team to Lagos for the duration of five days. The five day-long event, had a plethora of music activities that kicked off with the Welcome Soiree for nominees and invited guests. The soiree was hosted by the British Deputy High Commissioner, Jonny Baxter, at his residence in Lagos. The event formally signaled the commencement of AFRIMA Week, setting the tone for a series of activities leading up to the awards ceremony.

    In attendance were dignitaries from the British High Commission, Lagos State Commissioner for Tourism, Arts and Culture, Mrs Toke Benson-Awoyinka, AFRIMA president, Mike Dada and several others.

    Following the Welcome Soiree, the train moved to the AFRIMA Africa Music Business Summit (AMBS), which was held on Thursday, January 8, at the Eko Convention Centre, Lagos.

    With the theme Connect, Build, Own: Monetising Africa’s Music Revolution, the summit brought together industry leaders, artistes, policymakers, diplomats and global stakeholders to discuss ownership, investment, distribution, copyright and the future of African music on the global stage.

    At the Music Business Summit, the conversations went beyond performances and popularity, with discussants identifying policy reform, technology adoption and stronger collaboration as major pillars needed to deepen the growth of Africa’s music industry.

    The President of AFRIMA, Mike Dada, stated that the African music industry must now pay more attention to the business side if it wants to grow sustainably saying, “African music is not only about the songs and vibes but about building the business aspect of the industry.”

    Dada went further to add that the Africa Music Business Summit was created to bridge the gap between creatives and decision-makers.

    In his words, “Africa Business Summit is designed to expose African artists to business leaders within the sector on the continent.”

    The Music Business Summit also had a representative of the African Union Commission, the Head of Culture Division, Ms. Angela Martins, who described music and the creative economy as key drivers of development, unity and job creation across Africa.

    Read Also: Olisa Adibua, Juma Jux, Stonebwoy, ID Cabasa, others lead conversations at Africa Music Business Summit ahead of 9th AFRIMA

    Attendees at the Music Business Summit include CEO of Universal Music South Africa and Sub-Saharan Africa, Sipho Dlamini; Morocco’s Karima Damir of Universal Music, Francis Doku, Mustapha Ettouil, Georg Heritlitz, Olisa Adibua, Bizzle Oshikoya. Others are Kofi Olomide, ID Cabassa; Innoss B, Juma Jux, Stonebwoy, and Didi B, among others.

    The AFRIMA Music Village was next and it happened on Friday, January 9. For the ninth edition of the continental music and culture awards, The AFRIMA Music Village lit up Ikeja City Mall to deliver an unforgettable celebration of African music and culture that drew a massive crowd of enthusiastic music fans.

    The event, which kicked off at about 6:30PM, stretched late into the early hours of Saturday as fans gathered to experience an energetic blend of sounds from across the continent. Performances were led by legendary Afrobeat star, Femi Kuti.

    From Wande Coal to Diamond Platnumz, Yemi Alade, Stonebwoy, Innos’B, Kcee, 9ice, Obesere, Jeriq, Skales, Moliy, Mavo, and Ayuba, the African stars took turns to thrill a cheering crowd and give an unforgettable night of excitement.

    Saturday, January 10, was devoid of official activities as guests and musicians took the time to relax ahead of the big day on Sunday, January 11, while officials kept working round the clock to achieve a successful event.

     On Sunday, January 11, the Eko Convention Centre, situated inside the Eko Hotels and Suites, was busy with beehives of activities that heralded the 9th Gala night and awards ceremony of the continental music and culture ceremony.

    The glamour and the glitz of the ceremony became the order of the day as the Red Carpet kicked off at 3:30 pm till 6:30 pm when guests entered the hall for the commencement of the ceremony that kicked off at exactly 7pm.

    Nigeria’s FalzTheBahdGuy and French-Senegalese actress and media personality, Liliane Maroune welcomed attendees and guests as hosts of the 9th edition of the awards. Falz emerged the second Nigerian, after music legend 2Baba, who co-hosted the prestigious ceremony at the inaugural edition in 2014.

    Despite some production glitches and errors during the five-hour long ceremony, attendees were treated to a night of African royalty with the hosts looking glamorous in their different outfits throughout the night.

    Nigerian music stars Burna Boy, Rema, Yemi Alade, Shallipopi and Phyno emerged among the biggest winners of the night. Rema, who attended the event in company of his associates, stood out clinching three major awards -Best Male Artiste in Western Africa, Artiste of the Year, and Best African Artiste, Duo or Group in African RnB/Soul for Calm Down.

    Burna Boy, who was absent at the ceremony, clinched the Album of the Year award for his No Sign of Weakness’ album, while Yemi Alade’s You Are from Iyanu: The Animated Series won Best Soundtrack in a Movie, Series or Documentary.

    Other Nigerian winners include fast-rising act, Shallipopi, who not only performed at the event but also won Song of the Year with his 2025 monster hit ‘Laho’ and Best African Collaboration alongside Burna Boy for the remix of ‘Laho.’ Phyno won Best African Artiste in African Hip-Hop, while rising star Chella clinched African Fans’ Favourite with his hit single, ‘My Darling.’

    Other winners on the night included Tanzania’s Jux, Cindy Le Coeur of the Democratic Republic of Congo, Wendy Shay from Ghana, and DJ Moh Green from Algeria.

  • When conceptual portraiture tells visual narrative

    When conceptual portraiture tells visual narrative

    In photography, the creative space often throws up new styles and talents. For the emerging hands, the practice is both tasking and interesting despite the influence of technology. But, in pursuance of a successful career, Birmingham-based fine-art and portrait photographer Rahimat Onize Shaibu chooses to anchor her works around symbolism, cultural storytelling and emotionally driven composition.

    Originally from Nigeria, she creates images that explore identity, inner worlds, and the quiet strength found in personal reflection. Her practice spans conceptual portraiture, self-portraiture and constructed imagery, often incorporating handcrafted props, flowers, fabric and traditional elements to build visually expressive narratives. Thematically, Rahimat’s body of works is defined by its intentional use of colour, minimalist sets, and the poetic way she transforms simple materials into symbolic meaning.

    She has exhibited internationally, photographed major cultural events, and contributed to creative communities through both commercial and personal projects. With a deep interest in storytelling, womanhood, and visual symbolism, Rahimat continues to develop a collection of works that is intimate, imaginative, and rooted in both personal and cultural identity.

    With her masterful use of lighting, she has a remarkable eye for colour and composition, often integrating elements into her backdrops rather than opting for blank studio settings.

    In the mode of the late Malik Sidibe, one of Africa’s iconic photographers from Maili, known as “the Eye of Bamako”, Rahimat is one visual artist with lots of talents. Like Sidibe, she sees the future of the world in faces, while capturing them in striking poses against colourful backdrops. From her current portraits, it is much likely that Rahimat is equally drawn to faces considering each piece a world unto itself.

    Indeed, her current collection remains a seminal pack of fine art and documentary photography, capable of influencing and provoking debate among enthusiasts. Her striking portrait such as In My Own Arm exudes a sensitive, natural feel, thanks to her candid approach, use of dynamic light positioning, and the trust she built with her subjects, in this case, herself. She uses In My Own Arms to explore self-connection and the comfort found in holding one’s own presence. Her choice of colours in the background, sits well with the white shirt and black tie, thus throwing up the twin image. The colourful head tie is also in sync with the background. Whereas in The Sun Within, Rahimat uses bold colour blocking and simple gestures to express warmth, identity and the quiet power people carry inside of them.

    Read Also: Beyond the single narrative: The reality of Benue killings

    Arguably, Rahimat is an emerging portrait photographer capable of shaping the creative space and possibly become another American Annie Leibovitz of our time. Her striking works stem a brooding intensity, masterfully sculpting subjects with light and form, whilst her use of austere backdrops, reminiscent of Irving Penn’s, creates additional impact, further directing focus squarely on the subjects. Her approaches will no doubt, help influence a generation of photographers that will experiment with new styles and perspectives.

    However, these works represent different directions within her creative practice, each exploring a unique visual idea.

    “I’m drawn to portraiture that uses symbolism, colour, and constructed elements to express emotion, identity, and the inner world,” she affirmed. With Silent Triangle she examines restraint and protection, using floral symbols to represent a personal refusal to absorb or spread negativity. Each of the three images captures different stages of her mood and state of mind. 

    But with Blessed Rain she draws from themes of blessing, inheritance, and divine favour, a visual representation of being covered, guided, and poured into from above, using handcrafted elements to express spiritual abundance. The colour hue is within the blue sky scape that reflects the natural rainfall situation.  

    “Though these works stand independently, together they highlight the breadth of my visual language and my ongoing interest in creating portraits that speak inwardly as much as outwardly,” she said.

  • A carnival positioning Plateau as cultural powerhouse

    A carnival positioning Plateau as cultural powerhouse

    The recently concluded annual Plateau Cultural Carnival 2025 has evolved into a defining milestone in Nigeria’s cultural landscape, while firmly positioning Plateau State as a rising national and continental hub for cultural tourism, creative excellence, and social integration. Held between December 12 and 14th 2025, across major streets of Jos, the carnival commenced with a vibrant street parade, transforming the city of Jos into a moving canvas of colour, rhythm, and shared celebration. The atmosphere was electric as residents and visitors alike participated in the “See Plateau Tour,” pausing daily routines to engage with culture as a unifying force. In moments like this, it became evident that culture remains the glue that holds communities together.

    Convened by Debrah Jalmet, a committed cultural advocate driven by heritage preservation, youth empowerment, and social cohesion, the three-day carnival transcended festivity to become a living expression of identity, unity, and collective purpose. Through music, dance, fashion, art, cuisine, and storytelling, Plateau State confidently projected its cultural richness to the nation and the global community. As widely acknowledged, culture widens both the mind and the spirit, a truth vividly reflected throughout the carnival.

    It also featured a concert that drew massive crowds, reinforcing the carnival’s role not just as entertainment, but as a catalyst for civic pride, social bonding, and local economic activity.

    On the second day of the carnival, more than 22 cultural troupes representing all 17 Local Government Areas of Plateau State delivered powerful performances reflecting centuries of heritage, resilience, and identity. Each presentation affirmed a shared understanding that the culture of a people is the true expression of their soul.

    Read Also: Troops rescue six kidnap victims in Kaduna, retired Colonel in Plateau

    A defining highlight of the day was the Walk of Unity, where beauty queens, artists, cultural ambassadors, and renowned creatives walked side by side in a visible demonstration of peace, inclusion, and shared destiny. The procession stretched from Sectorial Junction to the Jos Museum, culminating in a dynamic convergence that transformed the museum grounds into a living cultural village. Traditional cuisine exhibitions, art installations, and live cultural showcases turned the space into an immersive experience—clearly demonstrating that culture has the power to transform places into destinations.

    The carnival was boosted by the presence of distinguished Nollywood actors and creative industry veterans, including Kalu Egbui Ikeagwu, Ekpenyong Bassey-Inyang, Sani Muazu, Fred Amata, Gloria Young, Prince Daniel Aboki, Chuck Chyke, and Daniel Ikechukwu Obiora. Their participation underscored the carnival’s growing stature as a credible cultural platform that attracts Nigeria’s creative elite.

    Their engagement also reinforced a globally recognised reality: tourism thrives where cultural exchange and mutual understanding are actively promoted, a role the Plateau Cultural Carnival continues to play with increasing impact.

    The carnival reached its climax with a glamorous grand finale combining the award night and cultural beauty pageant. Winners emerged as ambassadors of elegance, intelligence, and cultural pride. Outstanding students from the Secondary School Cultural Competition were rewarded with laptops and financial grants—demonstrating the carnival’s deep commitment to education, youth empowerment, and future leadership.

    By celebrating young talent and recognising individuals who have contributed significantly to Plateau State’s growth and development, the carnival reinforced a lasting principle: societies that invest in culture are investing in their future. By every measure—attendance, organisation, cultural depth, and public reception—the Plateau Cultural Carnival 2025 was a resounding success. It honoured the past, empowered the present, and inspired the future.

    With over 50 ethnic identities and increasing community ownership, the carnival is strategically positioned to evolve into one of Africa’s premier cultural festivals within the next five years, attracting international tourists, scholars, creatives, investors, and global media. In doing so, it reinforces a powerful truth—that unity grows stronger when diversity is celebrated, not erased.

    As the Plateau Cultural Carnival continues to expand, it presents partners with a unique opportunity to align with a fast-rising cultural brand that delivers impact across live experiences, digital platforms, and national and international media. Beyond visibility, the carnival serves as a meaningful vehicle for corporate social responsibility, supporting cultural preservation, youth empowerment, tourism development, and community cohesion.

  • Africa’s creative economy gets on global stage

    Africa’s creative economy gets on global stage

    Afrovision X 2026, a landmark global festival produced by Grandieu Inc., celebrating African and Caribbean creativity, will hold between June 1 and June 30, across Toronto, Brampton, and Mississauga, Canada. The month-long festival will culminate in a prestigious Afrovision X Awards Gala, recognising individuals, institutions, brands, and organisations supporting and advancing the fast-growing global creative sector. As international preparations intensify, Nigeria officially commences its activation phase this month, led by Nigerian partners Inspiro Productions.

    Afrovision X 2026 is a multi-disciplinary cultural and economic platform spanning fashion, film, music, theatre, visual arts, culture, and creative exchange, designed to position Africa’s creative economy prominently on the global stage. The festival will convene creatives, designers, musicians, filmmakers, artists, cultural institutions, governments, investors, brands, and diaspora communities from across Africa, the Caribbean, and the world. As a recognised powerhouse of global African creativity, Nigeria is expected to play a central and leading role, with the festival coinciding with the global World Cup period, further amplifying international visibility.

    The Nigerian activation will focus on strategic mobilisation and partnerships ahead of the Canada showcase, including stakeholder engagements with government and private sector institutions, sponsorship and partnership drives, creative community mobilisation across multiple disciplines, a Lagos-based international press conference, and the release of official participation guidelines for creatives, designers, filmmakers, musicians, performers, and exhibitors.

    Speaking on the vision behind the festival, Lead Convener of Afrovision X 2026 David Bebiem stated that the initiative is committed to showcasing African and Caribbean creativity at world-class levels, adding that Nigeria is not just participating but leading, while also recognising the individuals and institutions shaping the sector’s growth. On local coordination, CEO Inspiro Productions, Ayoola Sadare described Afrovision X 2026 as a global marketplace for Nigerian creativity, noting that brands, creators, governments, and institutions are being mobilised to fully leverage the opportunity.

    The AFROVISION X 2026 programme opens on June 1, 2026, with a spectacular opening ceremony in one of the GTA cities, featuring a red-carpet “Journey Through Africa” immersive cultural showcase, live music and dance performances, capsule fashion previews, film trailers, curated art presentations, the premiere of the AFROVISION X Anthem, and a grand fireworks and light display.

    Read Also: FULL LIST: Nine African cities with highest purchasing power

    Fashion Week follows from June 3 to 7, showcasing runway presentations by leading and emerging African and Caribbean designers, panel discussions on “African Fashion on the Global Stage,” and a style marketplace featuring global and local brands. The Film Festival, scheduled for June 9 to 14, will spotlight Nollywood, Caribbean, and diaspora film premieres, socially impactful documentaries, industry roundtables on distribution and co-production, and spotlight sessions with renowned directors and actors.

    From June 16 to 20, Arts, Theatre, and Performing Arts take centre stage with theatre productions by celebrated playwrights, cultural storytelling nights, dance theatre, industry panels on the future of African theatre, emerging performers showcases, visual art exhibitions, workshops, and community engagements. World Music Week, running from June 21 to 27 and aligned with World Music Day, will feature major Afrobeat, Reggae, Soca, and fusion concerts, a Night of Legends tribute honouring African and Caribbean pioneers, music industry masterclasses, intimate unplugged sessions, and a vibrant World Music Day parade through Toronto streets.

    The festival concludes on June 30, 2026, with the AFROVISION X Awards Gala, celebrating excellence across fashion, music, film, theatre, and the arts, while formally recognising patrons, sponsors, and supporters of the creative industry. The closing night will feature celebrity performances, sponsor recognition, fireworks, and a cultural after-party.

  • Sea Never Dry: A collective remembering of Bar Beach

    Sea Never Dry: A collective remembering of Bar Beach

    The quiet memories of Lagos’ once-vibrant Bar Beach resurfaced at the Centre for Contemporary Art (CCA), Yaba, Lagos. The event themed Welcome to Bar Beach, as artists, culture workers, journalists and members of the public gathered for the exhibition tagged Sea Never Dry.

    The exhibition also featured photography, film, performance, and installation to reflect on Bar Beach as a shared public space shaped by leisure, memory, displacement and urban transformation.

    Sea Never Dry forms part of CCA Lagos’ 18th anniversary programme and aligns with the centre’s long-standing commitment to preserving social and cultural histories through contemporary art.

    The exhibition examines how environmental changes, land reclamation, and rapid urban development have led to the gradual disappearance of public beaches, raising questions about access, belonging, and the right to the city.

    Filmmaker and storyteller, Femi Odubina, whose short film Bar Beach Blues featured in the exhibition, described the project as a way of safeguarding collective memory. He explained that Bar Beach once served as a place of recreation, prayer, music, and community life for many generations, adding that film and art offer powerful tools for preserving histories that risk being forgotten.

    Read Also: AYG 2025: Nigeria bag Beach Volleyball Gold in Angola

    Urban geographer Pauline Guinard presented a sound and visual map titled Where Is Bar Beach Again?, which explores the impact of urban transformation from the perspective of communities affected by development. She noted that the continued presence of Bar Beach in public memory reflects deeper concerns about displacement and who ultimately benefits from city-building projects.

    Trustee of CCA Lagos, Shade Doherty, described the exhibition as both educational and reflective, stressing the importance of balancing modern development with the preservation of cultural memory. “the project highlights how understanding the past can help society make more thoughtful decisions about the future” she said

    Executive and Artistic Director of CCA Lagos, Oyindamola Faithful, explained that the exhibition features works by artists including Akinbode Akinbiyi, Christopher Nelson-Abo, Nengi Nelson, Zainab Odunsi, and Peter Ototok, alongside performances and installations. According to her, the exhibition “draws attention to the disappearance of beaches such as Bar Beach, Kuramo Beach, and Landmark Beach, many of which were once freely accessible to the public,” she said. 

    Photographer and visual artist Christopher Obo, whose work focuses on land reclamation and displacement, said his “images serve as a visual archive of spaces that once brought families and communities together”. He noted that documenting these changes is necessary to encourage dialogue about urban planning and the social cost of development.

    Through images, sound, film, and recreated elements of the shoreline, Sea Never Dry offers visitors a space to reflect on memory, loss and transformation, reinforcing CCA Lagos’ role in using art to document history and shape conversations about the future of public spaces in Lagos.

  • Visual storytelling as bridge between identity, cultural memory

    Visual storytelling as bridge between identity, cultural memory

    Like most celebrated Nigerian visual artists, Olanipekun Gbolahan imbues storytelling in his visual narratives, which are rooted in African cultural heritage and personal introspection. Little wonder, many of his art explores light, texture, life’s intricacies, emotions, desire, atmosphere, vibrant colours and movement, all intertwined with storytelling to foster connection and reflection.

    Through his OLAart Gallery in London, Gbolahan continues to redefine his artistic vision, offering fine art prints, custom commissions, and creative collaborations that celebrate culture, vulnerability, and self-expression. The UK-based visual artist keeps pushing artistic boundaries while creating artworks that inspire and engage art enthusiasts irrespective of colour or race. 

    With over five years of experience, Gbolahan skillfully weaves organic materials, human emotion and natural elements into rich visual narratives. His current pieces evoke emotion and reflection, using storytelling as a bridge between identity, vulnerability, and cultural memory. Artworks like these: Echoes of the Drum, Heritage Unveiled, Midnight Muse, The Optimist and Fierce Woman form the core of Gbolahan Olanipekun’s recent solo exhibition titled Beyond the Canvas. 

    Following the footsteps of Nigeria’s great master artist, Bruce Onobrakpeya, Gbolahan is very passionate about crafting captivating visual narratives that resonate across cultures, and eager to contribute creativity, technical expertise and strategic content management to dynamic teams, studios and brands.

    Read Also: Anisiebo expands creative space in visual storytelling

    While Onobrakpeya appropriates Urhobo language elements into his chains of motifs, Gbolahan combines cross-cultural motifs in presenting visual stories backed by colour theory and digital imaging. 

    In Echoes of the Drum, the artist celebrates the socio-cultural significance of the drum in African society, highlighting the drum as more than an instrument, but a voice, a heartbeat, and a messenger of history and tradition. In African culture, the rhythmic beats of the drum carry the wisdom of ancestors, bridging the past and the present. It speaks in tones that transcend language, telling stories of joy, emotions, struggle, unity, and celebration.

    He captures the movement, energy and action of the drummer in a subtle colour. Every strike on the drumhead sends ripples through time, calling communities together, guiding dancers in sacred rituals, marking moments of transition, and igniting the soul of a gathering. To hear the drum is to feel its pulse, to be drawn into its rhythm, and to become part of something greater than oneself.

    In like manner, Gbolahan offers Heritage Unveiled, a visual art piece that captures the essence of cultural identity and pride through the portrayal of a woman adorned with traditional tribal marks on her face, which are deeply rooted in her tribal lineage. Heritage Unveiled is also a celebration of heritage, summarising the beauty and significance of ancestral customs and traditions, which are not mere aesthetic choices but carry profound meanings, telling stories of her ancestry, community, and personal journey.

    Heritage Unveiled is more than just a visual masterpiece; it stands as a tribute to the timeless beauty of cultural heritage and the stories engraved into the very fabric of our identities.

    In The Optimist, the artist explores the power of faith as exemplified in the Holy Bible, when Jesus Christ orders Peter to cast his net after a fruitless night of fishing. In John 21: 6, Jesus said, “Throw your net on the right side of the boat, and you will find some.”

    This is certainly what the artwork, The Optimist, symbolises.  The artwork, though inspired by life and nature, captures a solitary fisherman paddling into the horizon. This work is imbued with layers of meaning, evoking solitude, introspection, and hope. The interplay of isolation and optimism reflects the artist’s belief in the human spirit’s resilience. It stands as a poignant reminder of the beauty of creation and the potential for growth even in challenging circumstances.

  • Masisi lauds Ikogosi Warm Springs Resort

    Masisi lauds Ikogosi Warm Springs Resort

    Ikogosi Warm Springs Resort and Conference Centre, Ekiti State recently hosted former President of Botswana, Dr. Mokgweetsi Eric Masisi during his visit that reinforced the resort’s growing international profile and strategic importance within Africa’s tourism landscape.

    During his visit, Dr. Masisi toured the resort’s facilities and experienced firsthand the natural wonder of the warm and cold springs flowing side by side—one of the most unique geological phenomena in the world.

    The former President spoke positively about Ikogosi Warm Springs Resort, highlighting its serene environment, tourism potential, and the importance of preserving and investing in Africa’s natural heritage.

    The visit underscores Ikogosi Warm Springs Resort’s positioning as a premium destination for leisure, retreats, conferences, destination weddings, and high-level diplomatic and executive visits. Under the management of Glocient Hospitality, the resort has undergone a deliberate revival, with sustained investments in infrastructure, guest experience, safety standards, and service excellence.

    Read Also: Ekiti approves N7.3bn for rehabilitation of Ikogosi–Ipole–Efon road

    Speaking in an interview, Dr. Masisi emphasised the value of tourism as a driver of economic growth, cultural exchange, and regional collaboration across Africa. His remarks align with Ikogosi’s broader vision of becoming a globally competitive destination that attracts high-value domestic and international visitors.

    The presence of a respected African statesman of Dr. Masisi’s stature further elevates Ikogosi Warm Springs Resort’s profile and credibility on the global stage. It also reflects the resort’s increasing appeal to policymakers, business leaders, investors, and discerning travellers seeking authentic, world-class destinations within Africa.

    As Nigeria continues to position tourism as a key pillar of economic diversification, Ikogosi Warm Springs Resort stands out as a flagship destination, combining natural heritage, modern hospitality, and international relevance.

  • Tolani Alli announces ‘The HaTricks’ photography, storytelling masterclass

    Tolani Alli announces ‘The HaTricks’ photography, storytelling masterclass

    Award-winning photographer and visual storyteller, Tolani Alli, has announced the launch of The HaTricks Masterclass, a four-day photography and storytelling programme scheduled to take place from January 21 to January 24, 2026.

    The announcement was made via her Instagram page, where Alli described the initiative as a deeply personal project shaped by years of intense creative work, high-pressure assignments, and the responsibility of documenting defining moments as they unfold.

    “The HaTricks Masterclass was born from years of giving everything to this craft. The long nights. The early mornings. The pressure of getting it right when history is unfolding in front of you. It carries the lessons I learned through discipline, mistakes, correction, faith, and an unrelenting pursuit of excellence.”

    According to Alli, the masterclass goes beyond teaching camera techniques, focusing instead on the principles that underpin powerful visual storytelling and professional presence.

    “This is where I share not only how to make photographs, but how stories are truly built. How to see before you shoot. How to prepare before the moment arrives. How to show up with confidence in important rooms. How to tell real stories in a way that people remember and trust.”

    Participants will be guided through topics including intentional composition, editing choices, narrative clarity, and the emotional intelligence required to communicate effectively across different platforms.

    Alli further explained that impactful storytelling is not defined by visuals alone.

    “Every frame I have made was intentional. From how it is composed, to how it is edited, to knowing when to add sound and when to let silence speak. From guiding leaders on how to show up well, to helping organizations and projects communicate clearly across platforms. The work is not just visual. It is about emotion, intention, and human connection.”

    She described the programme as an open invitation to creatives who feel a deeper calling within their craft.

    “If any part of this sounds like you. If you have ever cared deeply about getting it right. If you know you are meant to do more with your craft than just take pictures. Then this is me opening my hands and inviting you in.”

    Registration for The HaTricks Masterclass is available in two categories. The General package, priced at ₦250,000, runs from January 21, 2026, while the VIP package, costing $2,000, will take place from January 23 to January 24, 2026, offering expanded access and deeper engagement.

    The masterclass is sponsored by Payaza, with organisers noting that spaces are limited. Through this initiative, Tolani Alli continues to strengthen her reputation not only as a respected documentarian of leadership and power but also as a mentor committed to nurturing the next generation of African visual storytellers.