The Nation Newspaper

Category: Arts & Life

Boom time for creative, tourism sector

Nigeria’s creative and tourism sectors are entering a period of steady, strategic growth. Structural reforms, stronger industry alignment, and increasing global demand for authentic cultural experiences are beginning to reshape narratives and opportunities. Two years into President Bola Tinubu’s administration, operators and stakeholders are seeing the momentum build. Yet, alongside the optimism, they remain clear-eyed about the challenges ahead—and committed to making this progress durable and inclusive, reports Associate Editor ADEKUNLE YUSUF

In the ever-beating heart of Africa, where time-honoured traditions entwine with the pulse of modern creativity, a new dawn is breaking. Two years into the administration of President Bola Ahmed Tinubu, the tapestry of Nigeria’s tourism and creative industries is being rewoven with threads of vision, innovation, and hope. Once dimmed by neglect and uncertainty, these sectors now shimmer with the promise of renaissance.

A quiet revolution is afoot—disciplined, deliberate, and increasingly visible. It is an unfolding narrative of possibilities, forged through structural reforms, strategic leadership, and a growing recognition that Nigeria’s cultural and tourism wealth is not merely a national asset but a global treasure waiting to be fully unveiled. At the epicentre of this transformation is the bold decision to merge the domains of culture, tourism, and the creative economy under a single ministerial portfolio—a move that many stakeholders hail as catalytic. What was once a fragmented chorus of voices has become a symphony with shared rhythm and rising momentum.

Few understand this evolution better than those within the industries themselves. “It’s a different ballgame for us now; it changes everything,” declares Mrs. Bolaji Mustapha, President of the National Association of Tour Operators (NATOP), her words resonate with the enthusiasm of one witnessing a long-awaited awakening. “Awareness of tourism has grown. More people are discovering the incredible sites our country has to offer.”

Indeed, the dream of positioning Nigeria as a cultural and tourism powerhouse—one that many dared to envision but few thought achievable—is beginning to take visible form. From Lagos to Calabar, from Kano to Ondo, initiatives to elevate tourism and cultural experiences are taking root.

For decades, Nigeria’s tourism potential lay largely untapped—overshadowed by the dominance of oil and hampered by infrastructural deficits, inconsistent policies, and global misperceptions. Yet beneath the surface, an ancient land of splendour awaited rediscovery: emerald rainforests, sun-kissed beaches, undulating hills, ancient kingdoms, and an artistic vibrancy unmatched across the continent.

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The decision to unify culture, tourism, and the creative economy was more than an administrative adjustment; it was an ideological pivot. For the first time, the sectors are being recognised not as ancillary pursuits, but as engines of national identity and economic growth. With global tourism contributing nearly 10 percent of world GDP, Nigeria’s new strategy taps into a lucrative and sustainable opportunity.

Already, early wins are emerging. Strategic marketing campaigns, enhanced partnerships with international stakeholders, and targeted infrastructure investments are drawing fresh attention to Nigeria’s offerings. Initiatives such as the Door of Return Festival in Badagry, the resurgence of the Lagos Fanti Carnival, and the promotion of hidden gems like Idanre Hills and Araromi Beach exemplify the shift. The creative industries—film, music, fashion, and art—are equally invigorated. With Afrobeats conquering global charts and Nollywood reaching ever-wider audiences, Nigeria’s cultural narrative is being reframed on the world stage.

“The game is changing,” Mustapha affirms. “We’re seeing tourists from across Africa arriving here. The tourism products we’ve advocated for are finally thriving and selling.” At the heart of this momentum lies a new wave of political will—one that sees in Nigeria’s creative and tourism sectors an opportunity to reshape the country’s global narrative and stimulate sustainable development.

If one city exemplifies this renaissance, it is Lagos. Restless, resilient, and richly layered, Nigeria’s commercial capital has become an incubator for the new cultural economy. The Lagos State Government, under progressive leadership, has invested in infrastructure, rehabilitated roads and museums, and embarked on an ambitious programme to market the state as a must-visit destination.

From the sparkling sands of Elegushi Beach to the pulsating nightlife of Victoria Island, Lagos now brims with offerings for both domestic and international travellers. The once-neglected National Museum is seeing new life, while annual cultural events attract audiences from near and far. Yet challenges remain. Inflation continues to stretch household budgets, rendering domestic travel costly for many Nigerians. Mustapha calls for deeper government-private sector collaboration to both manage and market tourism sites effectively.

Security perceptions, too, must be addressed. “Nigeria is safe,” she insists. “People need to travel and experience this themselves. We need more stories, more videos that showcase the positive experiences visitors are having.”

Parallel to the tourism upswing is the surging tide of Nigeria’s creative industries—a sector that has long been a font of soft power but is now gaining institutional recognition. Otunba Michael Balogun, General Secretary of NATOP and Chief Operating Officer of Tour2Nigeria, offers a sweeping view of this ascent. “The creative industry is pushing hard,” he observes. “You see it everywhere—from our presence at Cannes to Nigerian films dominating Netflix listings.”

The establishment of a dedicated ministry for the creative economy is hailed as a game-changer. Yet, Balogun stresses, tourism must fight to ensure its narratives receive equal prominence in this evolving ecosystem. One solution: a coordinated calendar of cultural activities that allows tour operators to market experiences in advance—transforming spontaneous local festivals into sought-after global events. Balogun points to the recent Lagos Boat Regatta as an exemplar of this synergy between tradition and modern tourism. “When the private sector and government collaborate effectively, the results speak for themselves.”

Perhaps no initiative better encapsulates the spirit of this new era than the forthcoming Motherland Festival—an event poised to spotlight Nigeria’s rich heritage, creative dynamism, and boundless energy. In a recent statement marking his administration’s second anniversary, President Tinubu articulated this vision: “This landmark gathering will showcase Nigeria’s beauty through tourism, culture, and innovation—inviting the world to rediscover our nation.”

Such declarations are more than ceremonial. They signal a growing consensus that tourism and the creative economy are central to Nigeria’s national renewal—a strategic pivot from resource dependency to a diversified, resilient economy powered by culture and creativity. While ministerial pronouncements and state-level initiatives garner headlines, much of the real work unfolds quietly—at the grassroots, where operators and advocates labour to map, promote, and preserve Nigeria’s vast cultural wealth.

For NATOP, grassroots advocacy remains the cornerstone of strategy.

Speaking at a recent roundtable with the Association of Nigerian Journalists and Writers of Travel (ANJET), Mustapha outlined efforts to identify and promote lesser-known tourism sites. The upcoming Annual General Meeting (AGM) of the Nigerian Association of Tour Operators (NATOP), set to take place in Ondo State, will shine a well-deserved spotlight on some of the region’s best-kept tourism secrets—hidden gems waiting to be discovered by a wider audience.

At the top of the list is the awe-inspiring Idanre Hills, a majestic cluster of ancient granite formations that rise dramatically above the landscape. Visitors can hike its scenic trails, explore centuries-old settlements carved into stone, and take in panoramic views from the summit. Equally captivating is Araromi Beach, an unspoiled stretch of coastline where pristine sands meet the tranquil Atlantic, offering a perfect escape for relaxation and eco-tourism. Also set to impress is Nibanola Farms, a sprawling agricultural haven featuring a picturesque lakeside hotel—an ideal blend of rustic charm and modern comfort for visitors seeking immersive agritourism experiences. Adding a touch of enchantment is La Campagne Tropicana Hills, where lush greenery and luxury accommodations merge to create a serene, culturally rich retreat.

“It’s mind-blowing,” recounts Mustapha of a recent visit. “We had breakfast atop a beautiful mountain. To witness such experiences within Nigeria—it’s transformative.” The NATOP AGM promises to unveil these treasures to the world.

Yet the path to renaissance is strewn with thorns. Inflation, lack of innovation, multiple taxation, and lingering security concerns remain formidable challenges. Mustapha urges the government to deepen its partnership with industry stakeholders and to incentivise domestic tourism beyond the usual public holidays. Balogun echoes this call, advocating for a united front across the tourism value chain—from airlines and resorts to logistics companies—offering attractive packages that make travel more accessible.

Equally pressing is the need to counterbalance negative global narratives. “The U.S. and South Africa also have crime,” Balogun notes. “But that’s not the dominant image they project. We must boldly tell our own story.” Encouragingly, progress is already visible. “On a recent trip to Ondo, I was struck by the new roads under construction. Government is working,” Balogun affirms.

In this unfolding renaissance, the media plays a pivotal role—not merely as observer, but as custodian of narrative. Mr. Okorie Uguru, President of ANJET, pledges the association’s support: “We will echo the voice of operators and project positive narratives—locally and globally. Nigeria’s story deserves to be told in all its richness and potential.” Such alliances between industry and media are vital to shaping the perceptions that drive tourism flows.

As Nigeria prepares to host the Motherland Festival, and as NATOP and its partners continue to champion the cause of domestic tourism, one truth emerges with clarity: this renaissance is not a fleeting trend, but a movement with deep roots and an expanding horizon. The coming years promise even greater strides, as collaboration, innovation, and an indomitable national spirit forge a new chapter in Nigeria’s cultural and tourism narrative.

“Nigeria is not only a leader in Africa but a committed global partner—ready to engage, inspire, and lead,” President Tinubu affirms. It is a vision that resonates far beyond the corridors of power. From bustling Lagos to the mist-clad peaks of Idanre, from the cinematic brilliance of Nollywood to the ancient rhythms of masked festivals, Nigeria is ready to enthral the world. And in doing so, a nation once described in terms of its struggles may soon be defined by its splendour.

June 11, 2025
When the light fades too soon
- From Mudiare Onobrakpeya
Barely over a year, Nigerian visual art sector has lost four men whose creative fires were still burning fiercely. They are Zinno Orara, Abraham Uyovbisere, Olu Ajayi, and Tam Fiofori. They weren’t done. They were still painting, documenting, mentoring, still showing up with something to say, something only they could say, and yet, they’re gone.

It’s hard not to wonder: what if the story had played out differently? What if there were structured grants, endowments, or even a modest health insurance plan for practicing studio artists and craftsmen—those who don’t sit in the safe corridors of academia, but wrestle daily with light, form, pigment, and memory? Perhaps, just perhaps, they would still be with us.

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Contrast this with our university teachers. Many of them, thanks to institutional frameworks, enjoy longer, more supported lives, like pensions, sabbaticals, HMOs. Their creative colleagues, however, often navigate the harsh terrain of self-employment with no safety net, no institutional lifeline.

These weren’t old men slowing down. They were still in stride—commanding exhibitions, making new work, investing in others.

Zinno was still unveiling deeply moving pieces. Uyovbisere’s palette was still refined and evolving. Olu Ajayi had just begun a new chapter of creative maturity, and Uncle Tam was still capturing the spirit of a nation through word and lens.

We celebrate them, yes. But we must also mourn the systems that failed them. For a nation that takes so much pride in its culture, we offer our culture bearers far too little security. If we want a future where creativity thrives, where art doesn’t come at the cost of wellbeing, we must rethink how we honour, not just the dead, but the living.
June 11, 2025
Big debts, water and thirsts

BOOK REVIEW

Title: Title: Big Debt, Big Thirst: A Case Study of World Bank Supported Water Projects in Ekiti, Rivers and Bauchi States

Publishers: Corporate Accountability and Public Participation Africa (CAPPA)

Year of Publication:     2025

Reviewer:   Olayinka Oyegbile

“Water… e no get enemy…”, so sang Abami Eda Fela Anikulapo in one of his numerous songs. This holds a lot of wisdom. He crooned that there is nothing you want to do that you’ll not need water. The Yoruba in their wisdom also say water is ero (solution) to all problems. Samuel Coleridge in his poem ‘The Rime of the Ancient Mariner’ emphasizes the importance of this all-round crucial liquid to human life.

It is therefore surprising that the World Bank and some other international financial institutions have been pushing governments, especially in the developing world to treat water as a commodity to be sold and not a human rights issue. It is part of efforts to make water accessible to majority of citizens that the Corporate Accountability and Pubic Participation Africa (CAPPA), a no-governmental organization has embarked on examining the role of corporations in the global search to make water available to all.

In the publication titled Big Debts, Big Thirst: A Case Study of World Bank Supported Water Projects in Ekiti, Rivers and Bauchi States, CAPPA deploying its research skills across three states of the country examines the implications of privatisation reforms as advocated by international financial institutions led by the World Bank. Putting all the loans under critical review and examination is what has resulted in this publication.

It reveals a disturbing pattern showing systemic failures and compromises that lead to poor water access for millions of citizens for whom the loans were supposedly given by international financial institutions. The tone for the examination of these failures was set by Daniel Oberko, the Regional Secretary for Africa and Arab Countries Public Services International in the Foreword in which he observes, “With a population of over 250 million, Nigeria experiences water insecurity, which is caused by accessibility challenges, inadequate finance, and an institutional framework for administration that is neither consistent or coherent. This is made worst by policy directions influenced by market-oriented solutions and external funds aimed at enriching private companies at the expense of communities’ access to reasonably priced and clean drinking water.”

The Introduction takes a look at the importance of water in human life and how despite the fact that majority of the earth is covered by water, only a fraction of that is fit for human consumption and as such must be preserved and accessible to all.

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The first chapter takes a broad look at the country’s water sector and tries to also examine the efficiency of water governance, institutional and policy framework as obtained at the three (federal, state and local) levels of government across the country. It examines how the three connects and are supposed to work together to achieve access to fresh water by the citizens.

In the chapter on history of the World Bank intervention in the country’s water sector. It reveals that the Bank’s initial efforts were concentrated in the urban areas such as Kano, Lagos, Ibadan where projects were embarked upon in the funding of new water treatment plants. Some of these policies failed and the Bank had to arm twist governments to “enforce strict payment mechanism, and introduce water tariff increases to ensure financial sustainability” (p16).

Turning its focus on the three states of Bauchi, Ekiti and Rivers, the CAPPA team finds out that despite the humongous loans from the World Bank and other financial institutions, water facilities and supply across the states have not improved at all. “In 2014, a third phase, NUWSRP3, was approved with an International Development Association (IDA) credit for 161.6 million Special Drawing Rights (SDRs), equivalent to a US$250 million loan provided to the Federal Government of Nigeria. This phase focused on substantial investments in the water sectors of Ekiti, Rivers and Bauchi States, with a core objective of enhancing the efficiency of state water corporations.” (p5)

However, these were largely not the case. For instance, in Bauchi it was discovered that, “The state continues to face persistent water and sanitation challenges. Issues such as inadequate access to clean water, widespread open defecation and poor hygiene practices remain prevalent.” (p23).

The situation in Ekiti State is not much different despite the fact that it has “17 booster stations to enhance pressure and ensure efficient supply across various locations,” but only four of these are working!

The Rivers State’s case is a classical demonstration of the Ancient Mariner’s chant of “Water, water everywhere but none to drink”! A state that derived its name from the fact that it is nestled among waters cannot find potable water to drink. In this state, the African Development Bank (AfDB) under its Urban Water Supply and Sanitation Project and World Bank’s NUWSRP3 failed to ameliorate the situation due to lack of adequate coordination.

In all, what the study has documented in this slim volume is the fact that attempts by governments to handover water access to corporations are dogged by pitfalls and insincerity which would make water costly and out of the rich of the common citizens. Making water corporations to be billed by power companies as if water is a raw material rather than treat access to it as a human rights issue would make it expensive. It was found out that the involvement of corporations has not in any way solved the core problems of water supply in the country.

The good thing about this study is that it is not all about listing the pitfalls. It offers alternatives that could be explored by various governments to ensure adequate supply of water to the populace. Some of these are that the government must reject privatization, proclaim a declaration of a national emergency in the water sector and the launch of sustainable water sector renewal plan, the recognition of water as a human rights issue as well as public investment in water infrastructure.

There is no doubt that the quartet of Sefa Ikpa, Gideon Adeyeni, Martin Ogunlade and Zikora Ibe have done a very quality work in aid of public water supply in this report. It is a document that all governments at various levels would find useful in assessing their efforts and investments in the water sector with the hope that they are going to act promptly on it before it’s too late.

•          Dr Oyegbile is a journalist and writer

June 11, 2025
Omatseye reads from Juju Eyes at LASU, UNILAG book reading

Historian, writer, journalist and the Editorial Board Chairman of The Nation newspaper Mr. Sam Oritsetimeyin Omatseye has released a new novel titled Juju Eyes (Sunshot Associates). Omatseye will expose the new work to Nigeria’s reading public with three planned three readings for June 2025 in Lagos. The first reading will take place at Lagos State University (LASU), Ojo today by 11.00am at TETFUND Building, Faculty of Communications and Media Studies.

Omatseye’s reading is in partnership with the Departments of English and Media Studies.

On June 17, Omatseye will read at the Faculty of Arts Boardroom, University of Lagos, Akoka, Lagos @11.00am and again on Sunday, June 22. He will also read at Roving Heights Bookstore, Landmark Event Centre, Oniru, Victoria Island, Lagos @4.00pm.

Omatseye said “Juju Eyes is 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, or is there?”

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In July and August, Omatseye will square up with Florida-based Nigerian-born writer and Creative Writing lecturer at University of Florida Uwem Akpan to a reading in selected cities across Nigeria. Akpan will be visiting Nigeria to read for the first from his critically acclaimed and controversial novel New York My Village (Parresia Publishing). Omatseye will pair with Mr. Akpan on his second novel My Name Is Okoro, a work in tune with Akpan’s New York My Village in its exploration of the negative impact of the Nigerian Civil War on minorities of the Niger Delta for whose oil wealth the war was fought in other guises.

Juju Eyes is the third novel by Omatseye who has also practised journalism in the US. Omatseye’s new novel has been receiving rave reviews on account of its unflattering realistic portrayals of Nigeria’s current socio-political scene, with one reviewer describing it as “a vast, sweeping, epic narrative that under-covers the underbelly of society in unflattering manner.”

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 who like Nigeria suffers betrayal from a close quarter and is made to live a life and lie thrown her way by her country just to survive. Omatseye does not shy away from politics, a subject he devotes his weekly In Touch Monday column at The Nation.

Other works by Omatseye include Crocodile Girl (first novel), Dear Baby Ramatu (poetry – 2009), A Chronicle Foretold (2016), Tribe and Prejudice (2017), Mandela’s Bones and Other Poems, Lion Wind and Other Poems and Scented Offal and The Siege (drama) that was performed to celebrate Prof. Wole Soyinka at his 80th birthday.

June 11, 2025
Author unveils Fragments of Glass & Time

Author and storyteller Tewa Moda, known as Omowale David-Ashiru, unveiled her new novel Fragments of Glass & Time on Saturday at the Alliance Française de Lagos, Mike Adenuga Centre, Ikoyi.

In an energetic presentation, Moda described writing the novel in just two weeks under a tight deadline. “There was no time to think of obstacles. I just had to write,” she said.

Fragments of Glass & Time blends genres, generations, and gender, offering suspense, thrill, and deep intellectual stimulation. “It’s a book you probably won’t be able to put down,” she teased, warning readers to pick it up only when they have plenty of time.

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Moda, passionate about promoting Nigerian stories, hopes the book will reignite the reading culture among young Nigerians. “Nigeria is the seventh most populous country. The world should be hearing our stories,” she said.

Though she didn’t originally set out to win awards, she believes the novel is award-worthy — especially Nigerian awards, which would hold special meaning for her. “Fragments of Glass & Time is for Nigeria, from a Nigerian,” she said proudly.

With its mix of suspense, emotion, and rich storytelling, Fragments of Glass & Time promises to be an unforgettable read for anyone who loves a good story — and even for those who think they don’t.

June 11, 2025
Lagos love story book

BOOK REVIEW

Title: Love, Lagos & Other Complications

Author: Zainab Uche Imam

Publishers: Narrative Landscape Press.

Zainab Uche Imam’s debut novel, Love, Lagos & Other Complications: A Lagos Love Story is an entertaining read about finding love despite past hurts, hang-ups, and the hell that is the Lagos dating scene.

The story begins with Oluwasemilore “Semi” Coker, whose dream is to become an art gallery owner. In the meantime, she is a project development manager. She arrives for a physical meeting on behalf of her organisation, but a condescending receptionist sweeps her appointment aside for a well-dressed, handsome man who swaggers in after her. Her meeting stolen, Semi bristles her way home, where her girlfriends later sweep her away for a night of dancing.

Semi can almost forget her horrible day – until she bumps into the gorgeous offender from earlier. Toluwalase “Lashe” Williams. Or, as Semi has christened him, “Arrogant Rich Boy”.

Lashe is intrigued by Semi, or, as he has christened her, Ms Independent. So much so, that he purposely bumps into her at the bar after sighting her from his VIP section. He showers her and her friends with food and drinks as an apology for making her drop her drink (and arresting her appointment)! Semi softens toward him, inviting him to join her group for the evening. Soon, the day’s earlier tension melts into palpable attraction. Then, at Lashe’s friend’s birthday party weeks later, Lashe makes his intentions known to a sceptical Semi.

Just shy of 200 pages, the novel is easy to sink into. The action progresses quickly, offences are addressed sharp and forgiveness is doled out over a few pages. Sometimes, it reads like a screenplay, the banter between friends easy to hear in my head.

Plus, there’s no traumatising ending! The main characters get their happily ever after. There’s no cheating, despair, or abuse. It was lovely to read a story with characters who laughed freely and lived without the albatross of angst on their necks.

Imam proves excellent at creating genuinely likeable characters. Lashe and his friends call each other “odogwu”; Zuli, the “warrior” of Semi’s band of Lagos babes, bemoans being “single to stupor”; and they hiss instead of kissing their teeth. Their banter is steeped in Nigerian lingua franca, making them easily relatable to me as a Nigerian reader. They are young, ambitious and effervescent in a way Nigerians ought to be when they are not carrying the world’s weight on their shoulders. Their friend group is as Nigeria should be: multi-ethnic, without the traces of tribalism threatening to tear our nation apart.

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However, I was left unsatisfied by the characterisation of some of the novel’s stars. How is Zuli so “unaffected” by the end of a five-year relationship? Is Ada really comfortable marrying a man who hides his troubles from her?

Ṣemi herself suffers from a lack of fleshing out. I learn more about Lashe and how close he is to his grandmother, a feminist who established an oil palm and cocoa empire and raised him, and why he dislikes his controlling father. So, when his grandmother dies, or he fights with his father, I know why Lashe lashes out the way he does.

But the surface of Ṣemi’s trust issues are barely scratched. I don’t learn enough about what it was like to grow up with a single mother, or how deep the wounds of her father’s betrayal go until the book is nearly over.

Imam’s strength also lies in her one-liners, delivering sentiments that sum up the highs and lows of falling for someone. Of her eventual beau, Zuri marvels that “being close to him was like breathing air.” While pondering on his pursuit of Ṣemi, Lashe wonders, “At what point does earnestness begin to seem like obsession?” Yes, the book might be light, but it also makes you think about this (sometimes, unfortunate) thing we call love.

If I could ask for one thing to be better, it would be the ending. It felt too quick. All of a sudden, Ṣemi was running away from Lashe. Then, she was in therapy and everything was fixed? Within what amount of time? I wanted to relish more sweet moments with the characters – watching Ṣemi and Lashe fall in love and name their favourite movies and the quirks they discovered.

Overall, the book reminded me of a sitcom: full of moments that make me burst into laughter or want to head-butt the characters, and mushy romantic lines from Lashe that almost made me swoon. Ṣemi and Lashe deserved to be together, despite their imperfections. #ShayLash forever!

Zainab Uche Imam is a Nigerian writer. Love, Lagos & Other Complications: A Lagos Love Story is published by Narrative Landscape Press. An early draft was a finalist in the prestigious 2023 Quramo Writers’ Prize.

June 11, 2025
Deconstructing visual stereotypes

Adebayo Rotilu, known professionally as Debayo, is a Nigerian photo-artist whose works explore identity, form and cultural memory through the art of photography.

With an academic background in Computing and Project Management (MSc, University of Glamorgan, UK), his artistic practice is grounded in both conceptual precision and intuitive visual language.

Debayo approaches photography as both a creative and investigative practice—a way to rethink familiar stories, confront visual stereotypes, and represent contemporary African life with greater depth. His journey into image-making began in 2012 as a personal response to the stereotypical representations of the continent. He encountered African images dominated by poverty, conflict, and disrepair. In contrast, his body of works centers on the dignity, rhythm, and layered complexity of African life, often through experimental techniques in portraiture, abstraction, light, and form. His photographs are marked by a deep engagement with atmosphere and mood. Across his evolving series, he uses photography not simply to reflect reality, but to reconstruct it.

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For most people, like food, art is needed. Similarly, dance, a performance art, is not only a powerful and versatile art form used to express emotions, tell stories, but also to connect with others. It is also needed as a universal language that can communicate ideas and feelings without the need for words, and it can be both individual and collective. In practice, dance encompasses various styles and techniques, including ballet, contemporary, jazz, hip-hop, and many others, each with its own unique characteristics and expressive potential. How well can these fleeting moods, moments and movements be captured in still format for preservation?

In order to reflect reality and perhaps deconstruct it, Debayo finds photography very handy. With his recent works, Faceless series1-3, he creatively brings to bear his mastery of the techniques in achieving his compositions while appropriating the critical elements of portraiture, abstraction, light, and form. Notwithstanding the varied positions of the model in the three photographs, the central message is never lost.

By removing recognisable facial features, Faceless series shifts attention to the body as the primary tool for expression. Viewers are invited to engage more deeply with posture, muscle tension, and movement, reading emotion through physical form rather than facial cues. Faceless prompts the questions: Who are they? What are they feeling or thinking? The dancers become a universal figure.

One that represents anyone who has ever communicated through movement, emotion or silence. In Faceless, identity isn’t something displayed—it’s something revealed through performance.

Renowned photographer, Destin Sparks once said that “photography and life itself are so intertwined for me it’s impossible to see them as separate… I can’t think of another medium that’s so intricate and detailed in showing us the wonder of being human and alive on this planet.” This is in sync with Debayo’s approach to the use of photography in communicating feelings and moods of people. He certainly wasn’t clicking or snapping away at figures or scenes. His figures prompt questions of identity, feelings and mood. The colour scheme red was used on purpose to symbolise ‘passion, strength and energy,’ which also matches the feel of the art piece.

According to Henri Cartier-Bresson, ‘the decisive moment’ in photography is as timeless as it is priceless. This led him to his famous quote: “We must avoid, however, snapping away, shooting quickly and without thought, overloading ourselves with unnecessary images that clutter our memory and diminish the clarity of the whole.” Like Destin Sparks, Debayo’s works are capable of reinforcing the humanness in us as well as show those intricate and detailed elements that make us human and alive on this planet. His shutter speed won’t slow down nor will his light dim.

June 11, 2025
45 Lagos schools push for action on climate change
- From Janefrances Chibuzor
No fewer than 2000 children from over 45 schools across Lagos State converged on Lekki Urban Forest and Animal Sanctuary Initiative (LUFASI) Park in Lagos, to celebrate both International Children’s Day and the International Day for Biodiversity. With the theme Harmony with Nature, Sustainable Development, the double celebration, deemed the largest ever held at the park, brought together young learners, environmental advocates, educators, and development partners in a unified call for action on climate change and sustainable living.

The park reverberated with joy as children took centre stage, delivering captivating dramatic performances, cultural dances and spoken word pieces. Their presentations not only celebrated the innocence and creativity of childhood but also reflected a deepening awareness of environmental issues among Nigeria’s young generation. The atmosphere of the day was charged with excitement, but also emphasised by a shared concern for the future of the planet.

In a gesture that captured the symbolic and practical significance of the event, 100 solar lamps were distributed to deserving students as tokens of hope and empowerment. The lamps, provided by the Women in Renewable Energy Association (WIRE-A) in collaboration with the Smiling Simon Greenbuild Foundation, served as reminders of the importance of access to clean energy and education.

President of WIRE-A, Dr. Anita Nana Okuribido ably represented by Lady Isioma Fidel-Ewerem, Member of the Board of Trustees tasked the audience to look beyond celebration to action. Fidel-Ewerem stressed the urgent need to embibed environmental awareness in youth development strategies and to empower children as active participants in climate solutions. “Let this day not just be a celebration, but a call to action. We must raise a generation that doesn’t just read about climate change but actively works to reverse it,” she declared, drawing loud applause from the gathering.

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WIRE-A, alongside EvaCheck, a technology-driven platform focused on environmental compliance and sustainability, partnered LUFASI Park to deliver technical support, advocacy, and community outreach aligned with the theme of the event. Their presence underscored the rising importance of innovation, collaboration, and youth-centered environmental programs in tackling the global biodiversity crisis.

The host and environmental custodian of LUFASI Park, Mr. Desmond Majekodunmi, called for deeper environmental consciousness. He drew attention to the real and present threats facing ecosystems across Africa, highlighting the disappearance of Lake Chad as a sobering example of unsustainable human activity. “Sustainability means continuing what gives us life. You can’t eat if you destroy your land. Places like Lake Chad, once abundant, are now barren. Through every child, every event, we sow seeds of environmental consciousness,” he said.

He emphasised that the experience of being immersed in nature, touching the soil, seeing the trees, learning about animals, was a vital step in nurturing future custodians of the Earth. “They came here to celebrate their day, but they leave here as ambassadors for our environment,” he added, calling for more support for eco-parks and educational green spaces across the country.

Another powerful voice at the event was Lady Isioma Fidel- Ewerem, WIRE-A’s Intergovernmental and International Team Lead, who spoke with deep emotion about the importance of the day’s activities. She explained that the donated lamps symbolised more than just light, they represented hope, dignity, and the limitless potential of Nigerian children. “These lamps we’ve donated are more than light, they are a symbol of renewed hope, confidence, and belief in the dreams of these children,” she said.

Lady Fidel-Ewerem used the occasion to call for more inclusive and sustainable policies that prioritise youth education, green infrastructure, and renewable energy. She urged the government and private sector to recognise the power of grassroots advocacy and invest in platforms like LUFASI Park that combine conservation with community impact. “The government must invest in supporting initiatives like LUFASI. We need advocacy in every language, on every platform. Let us act as if there is no tomorrow, because without sustainability, there won’t be one,” she warned.

The day’s celebrations were also used to announce that many of the participating schools would be inducted into WIRE-A “Green Young Stars Club,” a pioneering initiative aimed at grooming a new generation of climate, conscious leaders. The club will serve as a platform for environmental education, clean-up projects, school gardens, climate literacy programs, and peer advocacy campaigns. “Transformation starts in the mind. After today, these children will not be the same. They are the future governors, astronauts, engineers, and above all, caretakers of the Earth,” she said.
June 11, 2025
Fed Govt partners Ogun on Renewed Hope cultural, creative project

The Ogun State Government and the Federal Government, through the Ministry of Art, Culture, Tourism, and Creative Economy have signed a Memorandum of Understanding (MoU) for the execution of Renewed Hope Cultural and Creative Projects in the state.

The framework of the MoU includes the establishment of a Renewed Hope Cultural Village, preservation and reservation of tourist sites, capacity building, and economic empowerment, among others.

Governor Dapo Abiodun signed on behalf of the state, while the Minister of Art, Culture, Tourism, and Creative Economy, Hannatu Musawa, signed on behalf of the Federal Government.

Speaking at the occasion, Governor Abiodun described tourism as a money spinner if properly harnessed, saying that the state would collaborate with the federal government to strengthen tourism and culture, as it provides employment opportunities, expands economic activities, and unites the people.

He said: “Tourism provides employment opportunities by keeping people busy. Culture, on the other hand, unites our people; therefore, there is a need for us to focus on it.

“Our people are endowed with creativity but do not have the platform to showcase their talents. Presenting our culture to the youths has attracted their attention, and they have started connecting back to their roots.”

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He said Ogun State parades some of the best festivals in the country, which include Orona Day, Lisabi Day, Remo Day, and the famous Ojude Oba Festival, noting that tourist sites like Olumo Rock, Centenary Hall, the first church and Bible in Nigeria, and a host of others are veritable sites that could appeal to tourists.

His administration, Governor Abiodun emphasized, has provided the needed infrastructure to support the tourism sector and is now focused on rehabilitating tourism sites to make them centers of attraction for tourists.

“We want to use tourism as a platform to project our state even further. We have seen in other countries that have similar backgrounds to Nigeria where they started as an oil-producing nation, and today, oil has become the third or fourth revenue earner because tourism has taken over and has become the largest source of revenue for their economy.

“If that can happen in those countries where nobody thought could ever be the hub for visitors, compared to a country like Nigeria, which is so uniquely positioned and blessed, people should be able to explore our tourism potential and see what we have,” he observed.

While expressing satisfaction with the new cultural awakening in the country, he said, “I am glad that we are finally on our way back to re-exploring. There is a cultural renaissance that is sweeping through the length and breadth of Nigeria. In terms of culture and tourism, Ogun State is a force to be reckoned with.”

Minister of Art, Culture, Tourism, and Creative Economy, Hannatu Musawa, said her visit was to kick-start President Tinubu’s directive to collaborate with state governments to strengthen and showcase the cultural uniqueness of each state with a view to exposing them to the outside world.

“Mr. President earlier in the year announced a project whereby he wants the federal government to do a handshake with the state governments, whereby we will build a sort of sustainable future, sustainable economic growth, and job creation. We need feasibility for culture across the states.

“We know every single state has a unique peculiarity, so what he wanted us to do, in a way, is this handshake that will allow the states to drive the conversations, as every state knows what is within it.

“When we do the handshake and MoU, the states will populate the MoU with their unique requests and look at how we can build on the heritage sites, build on the monuments, and expand the creative industry to domesticate tourism and boost domestic tourism.

“The federal government is offering this handshake, partnership, and collaboration in this Renewed Hope Cultural and Creative Project. That is the mission and vision of Mr. President, so that we can continue as a nation to change the narrative about Nigeria, reposition Nigeria to drive the narrative of who we are as a people through the power of our culture, our talents, creativity, and beautiful landscape,” she said.

Ogun State, the Minister added, is full of culture, beautiful landscapes, and people, maintaining that what makes the country great, dynamic, and exciting could be traced to the state, as it parades notable personalities. She added that with the takeoff of the project, the state is about to experience “something extremely special.”

June 11, 2025
TRAVCON to empower entreprenuers

The maiden Travelpreneur Conference and Expo (TRAVCONEXPO), a premier MICE event aimed at uniting industry stakeholders is poised to unveil Nigeria’s first dedicated travel trade fair and conference focused on capacity building and business growth for travel practitioners and professionals. The expo, which has as theme for the event is Innovating the Future of Travel: Empowering Entrepreneurs in a New Era, is designed as a premier platform where travel entrepreneurs, industry experts and the general public can gather to network, learn and explore travel-related products and services. It will hold between September 19 and 20, at the Balmoral Convention Centre, Federal Palace Hotel, Victoria Island, Lagos. According to Group Chief Executive Officer Aeroport Group and convener of the Travelpreneur Conference and Expo Dr. Oludayo Taiwo Gideon, TRAVCONEXPO is being organised by Travconex Projects Limited, a subsidiary of Aeroport. He stated that the event aims to integrate professional development with public engagement, fostering innovation and growth in the travel industry.

Dr. Gideon explained that the conference will focus on the latest trends and innovations in the travel industry, including sustainable tourism, digital marketing and entrepreneurship. Attendees will have the opportunity to learn from industry experts, share their experiences, and connect with like-minded individuals. The MICE event will also feature the Travelpreneur Awards, recognizing outstanding contributions to the travel and tourism sector.

Mr. Olaotokunbo Olagoke, Project Manager at TRAVCONEXPO noted that Aeroport is timely in reinventing Nigeria’s travel landscape to align with global trends through TRAVCONEXPO.

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He said that the theme will focus on the transformative power of innovation within the travel industry, especially in the wake of recent global challenges. “It emphasizes the critical role of entrepreneurs in shaping the future of travel through creativity, adaptability, and sustainable practices. By addressing emerging technologies, evolving consumer behaviors and the importance of collaboration, the conference aims to equip attendees with the insights and tools they need to thrive in a rapidly changing landscape,” he added.

Mr. Akinkunmi Awotundun, the Project Director, noted that TRAVCONEXPO is not only a platform for networking but also a valuable opportunity for anyone looking to shape the future of travel in Nigeria and beyond. “With its comprehensive program and esteemed speakers, TRAVCONEXPO is set to be a game-changer for the travel industry in Nigeria. Our goal is to create a platform that brings together travel enthusiasts, industry professionals and stakeholders to explore new opportunities, share knowledge and network.”

June 11, 2025