The Nation Newspaper

Category: Arts & Life

  • Two Decades and A Dream: memoir of hope to Africa

    Two Decades and A Dream: memoir of hope to Africa

    A seasoned author, Mrs. Oremeyi Akah, in her 22 years career in Nigeria’s Fintech space has been able to send messages of hope to Africans in her book, Two Decades and A Dream. At the book Launch held at Four Point by Sheraton, Victoria Island, Lagos, Mrs. Akah, described the book as “a call for every one of us to look within, to actually birth solutions that make real impact because I believe that it would take Africans to build Africa.

    ‘The book is a clarion call to every African—especially young women and aspiring leaders, urging them to lead, and to leave an indelible mark not only on one’s industry but on the continent itself.

    ‘The book is more than just my Memoir. It’s also a call to inspire. Africa has a lot of challenges and a lot of people just sit down and complain. In the book, I was able to share my dream of how I am the pioneer staff of Inter-switch. I have been able to work with the company to build solutions that solve problems,” she said.

    The book also shares light on her decades-long journey in the Fintech industry, while unravelling the vision required to grow a homegrown African company into a continental success. It traces the remarkable professional journey of the author.

    The Publisher of the book, who also doubled as her husband, Mr. Ejimofor Akah, described the author as a passionate optimist for Africa, who is deeply committed to unlocking the continent’s immense potential.

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    Mr. Akah described the book as one that would inspire anyone who has ever nurtured a dream to do something meaningful, to build, to innovate, to uplift, and to lead Africa into a future rich with hope and possibility.

    “This book is more than a memoir; it’s a masterclass in grit, grace, and growth. Through the pages, readers are drawn into the vibrant world of financial technology in Africa, seen through the eyes of a woman who dared to dream big and work tirelessly to bring those dreams to life.

    “Readers will take a lot of positivity from this book, understanding that there is a lot of hope in Nigeria and Africa. There is wealth in Africa. We Africans must open our eyes and take advantage of the potentials we have in Africa in order to build ourselves. Africa is ours. We have to build it. The book is available at Iwemi.com and Amazon,” he noted.

    A friend to the author, Mr. Ayodeji Adelagun, said: “Underpinning the writing of the book, it’s her passion to give back to society, have her experience documented and to also tell the story of how her drive to bring a solution to problem, has brought her to where she is today.  “This book, I’m sure is inspiring. It encourages people to impact Africa particularly. It’s about Africans bringing solutions to Africa. This is a documentary of how that is possible.”

  • 10-year-old author Osaivbie Izedonmwen Inspires peers with ‘Wonders of Me’

    10-year-old author Osaivbie Izedonmwen Inspires peers with ‘Wonders of Me’

    Osaivbie Izedonmwen, 10, continued his reading campaign, recently visiting Model Primary School, Lekki and Foreshore School, Ikoyi, in Lagos, where he had a book meet-up with excited pupils. 

    During the visits, Osaivbie had reading sessions from his debut children’s novel, ‘Wonders of Me’. 

    He introduced and read excerpts from it to primary 5 and primary 6 pupils in the two schools, as well as answering questions posed to him by the learners. 

    At government-owned Model Primary School, Osaivbie encouraged them to be patriotic and shun the temptation to leave the country. 

    “A lot of people want to leave the country because it is in a dire strait. But, I urge you all to stay here in the country, because Nigeria’s future is our hands. To make a better place for our generation, we need to read,” he said.

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    “A reader is a potential leader. In simple term, readers are leaders,” Osaivbie added. 

    Teachers and pupils praised Osaivbie’s initiative “Seeing a young boy leading a campaign to promote a reading culture is inspiring,” said one teacher at Foreshore School. 

    Prior to the literary engagement, Osaivbie had donated tones of books at a church and  accomplished his goal of reviewing 200 books in his bid to promote literary.

  • Writers, scholars, others celebrate literary giant Ngugi Thiong’o

    Writers, scholars, others celebrate literary giant Ngugi Thiong’o

    Prominent scholars, writers, and cultural thinkers across Africa and diaspora have gathered virtually to honour the life, legacy, and literary vision of Ngugi Thiong’o, Kenya’s foremost writer and one of Africa’s most enduring intellectual voices.

    The event, hosted by eminent historian and humanities scholar, Jacob and Frances Sanger Mossiker Chair in the Humanities Prof. Toyin Falola, drew unprecedented 3.7 million viewers from 24 countries, attesting to the towering presence of Ngügĩ in the global literary consciousness.

    The commemorative session attracted leading figures in literature, academia, and cultural activism, including Prof. Ato Quayson, Jean G. and Morris Doyle Prof. at

    Stanford University; Prof. Abiodun Salawu, a media and communication expert from the University of North-West, South Africa; and Prof. James Ogude, renowned literary scholar and former Director at the Centre for the Advancement of Scholarship, University of Pretoria.

    Others were: Prof. Peter Amuka, a pioneer of East African literary studies; Dr. Mercy Mirembe Ntangaare, a Ugandan folklorist and playwright currently at Macquarie University

    in Australia; and celebrated writers such as Okey Ndibe, and Monica Cheru Mpambawashe, Vice President (Southern Region) of the Pan-African Writers ASsociation (PAWA).

    Prof. Ato Quayson described Ngügí as a truly great writer, saying his literary artistry must not be overshadowed by his towering political stature. 

    According to him: “It’s easy to forget that Ngügĩ began as a literary writer, novels like A Grain of Wheat, Weep Not, Child, and The River Between exhibit extraordinary narrative depth and historical awareness. 

    “His characters are not ideologues. They are ordinary individuals navigating ethical dilemmas shaped by colonialism and war. Ngügis genius lies in marrying aesthetic beauty with historical grounding.”

    Quayson also highlighted Ngūgi’s acute sensitivity to Kenya’s physical and spiritual landscape, his fiction evokes plant life. animal life, and rural rhythms with intimacy.

    Prof. Peter Amuka, one of Ngügis earliest students and a literary critic in his own right, recalled his personal and scholarly relationship with the writer, which began in the 1970s.

    “We were surprised to discover that a writer could be alive, reflecting on his first encounter with A Grain of Wheat, he described the novel as technically complex likening Ngügi to a literary technologist.”

    Amuka emphasised the influence of works like Facing Mount Kenya by Jomo Kenyatta on Ngügis literary philosophy. “Ngügī treated land as sacred – not just as geography, but as spiritual essence. His writing climbs the symbolic heights of Mount Kenya.”

    He lauded Ngügi’s pedagogy, which exposed students to a global literary tradition, including African- American and Caribbean literatures.

    Monica Cheru Mpambawashe issued a clarion call to African writers to carry forward Ngügis legacy. 

    “We don’t need more dialogue about poverty in Africa. We need stories that refuse the donor script and demand reparations. ur keyboards are spears. Let’s wield them like Ngügi did – without fear, without apology.” 

    She challenged writers to pursue the next chapter of decolonization with resolve and creativity.

    Professor James Ogude offered a powerful historicization of Ngūgi’s influence, noting that the writer emerged during a volatile era in East Africa marked by coups, assassinations, and political repression. 

    He recalled studying under Ngügĩ at the University of Nairobi and later hosting him in South Africa during the early 1990s. 

    Ogude further traced the transformation in Ngūgi’s literary consciousness, particularly his sensitivity to gender, revealing that Ngūgĩ had removed the controversial female circumcision scene in later editions of The River Between, a gesture reflecting his evolving understanding of gender politics and cultural change. 

    “People think Ngüg is a dogmatic idedlogue, but he was always evolving.”

    “He returned to the thematic centrality of land in Ngūgis work, describing it as a “concrete and spiritual inheritance.” 

    “Land, for Ngūgi, is not just about economy-it’s about dignity, ancestry, and survival. 

    “His literary imagination is vital to Africa’s ecological and historical liberation,” Ogude affirmed. Ngügī did not merely write books; he wrote into the soul of the continent. He gave us a vocabulary of resistance, a map of recovery, and a sacred task-to imagine Africa beyond the wounds inflicted on her

  • ‘Nakito Bobo’ revives African animation with real, reatable stories

    ‘Nakito Bobo’ revives African animation with real, reatable stories

    Nakito Bobo, a gritty new animated series from Lagos-based Nakito Entertainment, is emerging as a bold statement for African storytelling in animation.

    Centered on the chaotic yet transformative life of Nakito, a street-smart Lagos boy whose wild lifestyle is altered by a divine encounte, the series is quickly captivating African Gen Z viewers and the diaspora with its unique blend of humour, culture, and spirituality.

    At a time when African animation often struggles with funding, visibility, and creative autonomy, Nakito Bobo is breaking the mold by prioritizing local truth and cultural depth.

    Streaming weekly on YouTube, TikTok, and Instagram, the series does more than entertain; it opens up space for conversations about identity, youth struggles, and spiritual awakening, all from a distinctly African lens.

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    Founder of Nakito Entertainment and a graduate of the New York Film Academy, Mr Tayo Laditi said, “We’re creating content that reflects our truth. It’s raw, funny, spiritual—and deeply African. That’s what Nakito stands for.”

    The rise of Nakito Bobo underscores a growing demand for African stories told by Africans. With more original animated series and films in development, the studio is positioning itself as a key player in Africa’s emerging animation ecosystem.

    Nakito Entertainment is also expanding its cultural influence beyond the screen with an upcoming streetwear line that embodies the show’s rebellious, Lagos-rooted aesthetic.

    As African animation gains traction globally, Nakito Bobo stands out—not just as a cartoon, but as a cultural movement redefining how African youth see themselves and how the world sees Africa.

  • Writers of African Origin in the Diaspora launches Abby Kesington’s debut poetry collection 

    Writers of African Origin in the Diaspora launches Abby Kesington’s debut poetry collection 

    The Writers of African Origin in the Diaspora (WAFORD) has unveiled ‘Finish Line’, US-based Nigerian poet Abby Kesington’s debut poetry collection.

    WAFORD, an arm of the Pan African Writers Association (PAWA), launched the book at a virtual celebration that gathered literary voices from Africa, Europe, and North America.

    Unfolding across themes of resilience, identity, womanhood, and self-discovery, Kesington described the book as more than a collection of verses; it is, she said, an intimate reckoning with her life’s trials and triumphs.

    “It’s a piece of my soul,” she confessed. “I wrote it in the midst of losing my job, facing depression, and trying to find my voice again. Every stanza is layered with pain, hope, and healing. I had to go through a process to reclaim the tigress I used to be.”

    The book, which took five years to complete, was born out of some of her most challenging moments. After losing her job, Kesington spent a year navigating uncertainty.

    “I would wake up early, drive people to hospitals—some en route to chemo or hospice care and come home and write. Their struggles reminded me I still had something left inside me. I hadn’t been defeated. Writing became my healing.”

    At the launch, she read from some of her poems, including The Voice, I Am Gem, and the title piece, Finish Line—each stirring deep emotions in the virtual audience.

    “The Voice was especially hard to write,” she shared. “It came after a panic attack I had on stage while reading. I was smiling outside but battling impostor syndrome in my head. That war became a poem.”

    On the title’s symbolism, she reflected: “I used to be a sprinter in high school. I thought life was like that—fast, straight, goal-oriented. But I’ve learned life is more like a marathon. You fall, you wait, you cry, but you keep going. The Finish Line isn’t just about ending. It’s about transformation.”

    Professor Bill Ndi, coordinator of WAFORD and host of the event, praised Kesington’s work for its raw honesty and transformative power.

    “Abby’s poems don’t just speak—they shout, they whisper, they weep,” he said. “She has translated personal experience into a social mirror. This is what great poetry does—it holds a light to life’s darkest corners.”

    Secretary-General of PAWA, Dr. Wale Okediran, hailed the launch as a cultural milestone, reaffirming PAWA’s commitment to supporting African writers at home and in the diaspora.

    “Writing is a journey of stamina, not speed,” he said. “It’s not just about publishing. It’s about the perseverance needed to carry the work through rejection, delay, and doubt.”

    He commended the title ‘Finish Line’ for its precision and poetic resonance.

    “I’ve published over 15 books, and titles rarely come easily. Abby’s title is both poetic and purposeful. It captures the essence of her journey.”

    Dr. Okediran also challenged WAFORD to establish international creative residencies modeled after the Nigerian program he has overseen for over a decade.

    “We’ve hosted over 350 writers from 12 countries. Let’s build similar sanctuaries abroad—spaces for African writers to complete their work, mentor young minds, and stay tethered to our literary heritage.”

    Chief launcher Dr. Ango Fomuso Ekellem described ‘Finish Line’ as a universally resonant work.

    “Abby’s poems are rich in imagery and layered in meaning. They reflect a soul in dialogue with itself and with the world. They carry the quiet force of change—change that poetry delivers when we least expect it.”

    A particularly tender moment came with Kesington’s reading of ‘I Am Gem’, a meditation on immigration and self-reinvention.

    “Coming to the U.S. as an immigrant, I lost myself. This poem was a reminder to myself and to others that even with flaws, we shine. We are gems,” she said.

    She credited her sister, Tosin Kesington, an English teacher based in Nigeria, with shaping the manuscript.

    “She polished every word. Her role was immeasurable,” she said, dedicating the poem ‘Will You?’ in her honour.

    The striking cover art, created by Professor Raqib Bashorun, also has a personal backstory.

    “That artwork lived in my living room for two years. When the time came, I asked to use it for the book, and he agreed. It was a divine collaboration.”

    The collection is structured into four thematic arcs—Life of Anxiety, La Femme, Pot Pourri, and The Travels—each tracing different contours of Kesington’s emotional and creative odyssey.

    When asked by Dr. Benjamin Hart about the recurring phrase “grand design” in her poems, Kesington’s answer was unequivocal: “Yes, that’s God. I’m not ashamed to say it. He’s in every line. I don’t preach in the poems, but I reflect what I’ve lived.”

    Since completing ‘Finish Line’, she has written over 30 new poems and has no intention of slowing down.

    “Now I wake up in the stillness of the morning and write. Sometimes it’s a butterfly, a squirrel, or just a sunrise that inspires me. I keep writing. This is just the beginning.

    “To anyone who’s been told to dim their light—this book is for you. Write your own story. Don’t let the world write it for you.”

  • Ichabod: A radical truth about woman sacrifice

    Ichabod: A radical truth about woman sacrifice

    In a world where silence has long been mistaken for virtue, one woman is breaking the cycle, not with rebellion but with authenticity, truth and a book.

    Titled ‘Ichabod: Daughters who did not inherit their Mother’s silence’ is the bold debut of a strategic communicator, Nono Ogochukwu Eloike, who transformed women’s challenges into a manifesto for change. In just five chapters, ‘Ichabod’ delivers a fierce but tender message to women: the time to reclaim your power is now. OLAITAN GANIU was at the book reading event tagged “Unsilenced Daughters” at Ouida in Ikeja, Lagos.

    “This book is my life experience,” the author, Eloike, says without hesitation. “For every woman, there is a moment when pain forces you to stop, reflect and in that stillness, you either stay stuck or you move forward.”

    Ichabod, which means ‘the glory has departed,’ may sound biblical, but for the author, it is deeply symbolic. “It is me saying we have lost our glory because we are not producing as women. We have left this aspect of being active in society as if we were accompanying men to the world.”

    According to United Nations Women.org, over 2.7 billion women are legally restricted from having the same choice of jobs as men. The gender gap in labour force participation has hovered at 30 per cent since 1990, with men’s participation at around 80 per cent and women’s at 50 per cent, globally.

    “These restrictions limit access to finance, creativity and application of knowledge, a very dangerous quest that ensures that the world remains intellectually malnourished. It has now become a key imperative for everyone who is committed to societal growth to break their silence and actively champion women’s right of choice and self-determination,” she stressed.

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    Her book aims to restore that lost glory. To remind women they are not just accompanying men into the world, but were born to shape it.

    “The institutionalization of the silence culture births impunity, femicide and the suppression of women. In such a society, women who speak their minds and are actively deciding the trajectory of their lives are called stubborn, unmarriageable, loud and unsubmissive,” she said. “Usually, what a patriarchal society call submission is subjugation. That is, forcefully taking from women their will power and right of agency so that they can follow through an already established process which is designed to serve patriarchy with little or no benefit for women.“

    Her solution is radical in its simplicity, choose women. “Deliberately give your woman a chair in the front position. Deliberately involve a woman because the best and the most loyal people you will get is a woman you are able to converse to like you. I have been in a position where things are going all wrong and just one woman stood by me overcome the situation.”

    Eloike believes sisterhood is the antidote to cultural conditioning and the key to transforming women’s futures.

    The chapter 5 of book titled, ‘Know the biases, break them all’ also challenges rigid societal norms especially those surrounding marriage, motherhood and timelines. “The biggest resistance we face as women is the resistance to choice. When a woman says, ‘I don’t want to get married,’ or ‘I don’t want kids,’ she’s not rebelling. She’s choosing. And that should be honoured,” she stated.

    The author also offers advice to women stuck in toxic relationship, “There is no such thing as wasted time in relationship. As long as you are alive, you can change your life. It won’t be easy but the reward is a future that is truly yours.”

    She added, “Our foremothers were taught to live in the dark. Their silence wasn’t noble, it was survival,” she says. “Today, we are still facing consequences: every 11 minutes, a woman dies at the hands of her partner. These aren’t abstract fears, they are real.”

     The event was an inspiring meeting of likeminded individuals who convened to denounce their rights of silence in the face of impunity. Women are encourage to produce seeds and outcomes that will establish their presence on earth and stop living lives by the sidelines. They should learn to own their successes and victories more than they own the pressure their weaknesses and failures.

  • Kogi Arts and Literary Festival debuts in Lokoja

    Kogi Arts and Literary Festival debuts in Lokoja

    By Isa Abdulsamad

    The Kogi Arts and Literary Festival (KALFest) which held in Lokoja ,the confluence capital  city of Kogi State between the 9-10 May , 2025 became a visionary platform that gave voice to the unheard, spotlighting creativity, empowering young creatives, reviving the culture of reading, and inspiring a new generation of artists and thinkers to change the narrative of the state  to positivity in the days it lasted. The two-day festival attended by about 250 persons held at the Federal University Lokoja, Adankolo Campus Auditorium, Lokoja, Kogi State.

    On the first day, the event drew notable dignitaries and personalities of Kogi State origin  from various walks of life who had become household names in the literary ,creative and academic sectors such as Professor Sunday Ododo, Mallam Denja Abdullahi, Miss Salamatu Sule,  Nanahawa,  Ismail Isah, Professor Abel Joseph, Dr. Muhammad Ali, Dr. Abba Abba, Maymuna Kadiri, Abdulhakeem Abdulsalam Adeiza, and many others. Professor Sunday Ododo, a renowned playwright and erstwhile General Manger of the National Theatre, who delivered the keynote address on the festival’s theme “The Confluence Canvas: Painting Kogi’s Story Through Arts and Literature,” emphasized the transformative power of art and literature in shaping Kogi State’s narrative and elevating it to global relevance.

    In her welcome address at the opening ceremony, the founder of the festival, Muyibat Avosuahi Yusuf, delivered a powerful speech detailing the journey behind KALFest’s creation. This was followed by a vibrant cultural display from the Federal University Lokoja Secondary School students, who showcased Igbo, Igala, and Yoruba cultural performances. Nanahawa, the SSA to the Governor and representative of the Commissioner for Education, gave a goodwill message in which she highlighted the value of KALFest to youth development and expressed the Ministry’s full support.  Ismail Isah, SA on Media to the Governor, echoed this sentiment, assuring the festival team of the state government’s backing under His Excellency Alhaji Usman Ododo, the Governor of Kogi State

    A stimulating panel discussion followed, featuring Mallam Denja Abdullahi, former president of the Association of Nigerian Authors(ANA) and Dr. Abba Abba, a senior lecturer at the Federal University ,Lokoja and moderated by Miss Salamatu Sule, a renowned literary agent and book reviewer. The session explored the topic “Echoes of the Ancestors: Unearthing Kogi’s Indigenous Narratives” with the panelists offering deep insights into the state’s rich heritage in literature and culture. This panel dwelt on the works of notable writers from Kogi State such as Prof. Olu Obafemi, Prof Emmy Idegu, Mallam Denja Abdullahi, Prof Idris Okpanachi, Prof Sunday Ododo, Late Dr Onukaba Adinoyi-Ojo , late Prof Aderemi Bamikunle and many others that have put the state on the literary and cultural world map through their creative and academic works. The day also featured a compelling poetry performance  titled “Kwararafa” by Oko Owiocho Africa, which left the audience in awe. Other younger creative reative talents who performed poetry and other declamations on the first day were :Abdulfatai Daninat, Bonny Princess Owuya, Audu Favour Omeiza,Ibrahim Elizabeth, Olushaba Miracle.Ekundayo Temiloluwa, Abubakar Khadijat, Ogbonnaya Divine Favor and Fagbemi Oluwaferanmi Priscilla

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    A second panel discussion followed, featuring Miss Salamatu Sule and Dr. Muhammad Ali, moderated by Mallam Denja Abdullahi. The topic was “The Canvas Speaks: Artists as Storytellers of Kogi’s Journey.” The discussion was enlightening and thought-provoking, with the moderator challenging the panelists to offer their best insights on how contemporary storytellers of all forms can tell a better, fuller and richer story about the state.

    The day concluded with a drama production by the Department of English and Literary Studies, Federal University Lokoja, under the direction of Dr. Abba Abba. The play, adapted from Mallam Denja Abdullahi’s award –winning and most performed Nigerian play in the last five years Death and the King’s Grey Hair, was brilliantly executed. The playwright himself praised the performance, stating that it was the best staging of the play he had ever witnessed.

    Isah Abdulssamad, co-founder of KALFest, delivered the closing remarks on the first day, and MC Cabman wrapped up Day One with a warm invitation to return for Day Two.

    The second day began with an opening speech by Isah Abdulssamad, who welcomed guests and officially opened the day’s events. Muyibat Avosuahi Yusuf performed a powerful spoken word piece on molestation, which moved the audience deeply. This was followed by Abdulssamad’s poem “I Am Not an Activist,” a poignant reflection on injustice in Nigeria.

     A two-hour panel discussion followed, moderated by Maymuna Kadiri, on the topics “In the Ink of Today: Contemporary Voices and the Literary Renaissance—Beyond Borders, Innovation, Youth, and the Future of Cultural Expression.” Panelists Professor Abel Joseph, Dr. Muhammad Ali, and Miss Salamatu Sule shared deep insights and engaged the audience with wisdom and clarity. Following the panel, artists including Awareness, Ogba Favor, AbdulAzeez Hadiza, and Ekundayo Temiloluwa delivered mesmerizing performances in poetry and music, leaving the audience emotionally stirred and inspired. The much-anticipated Poetry Slam was the main highlight of the second day and featured seven contestants with some of them coming from far-flung places like Jos and Kaduna to participate in the contest.With Professor Abel Joseph as Chief Judge, alongside Dr. Muhammad Ali and Maymuna Kadiri, the slam spanned three competitive rounds, each with a 5-minute limit. After each round, performances and poetry readings filled the space as scores were tallied. Eliminations followed each stage until the final three emerged: Faisal Ahmed Smith from Jos (winner), Idris Ummi Ometere (1st runner-up), and Michael Ovayoza Joy (2nd runner-up). They received cash prizes of N70,000, N50,000, and N30,000 respectively. Miss Salamatu Sule and Oko Owiocho Africa gave encore spoken word and freestyle performances, keeping the energy alive.  Muyibat Avosuahi Yusuf closed the festival with a heartfelt note of appreciation to sponsors, partners, and team members, reaffirming that KALFest had come to stay, and called on the state government, individuals, and organizations to support the future of the festival.

    Without doubt, the confluence city of Lokoja witnessed an arts and literary festival that showcased the multiplicity of artistic voices of Kogi State with a huge manifestation of the power of creative storytelling in changing narratives for the better in a State brimming with histories , monuments, iconic geographical watersheds, diversity and economic potentials of national significance.

  • Debsandy: A multifaceted force of purpose, passion

    Debsandy: A multifaceted force of purpose, passion

    Debsandy is a dynamic and influential personality whose life and work span across multiple impactful spheres, mental health, entertainment, youth empowerment, and faith. As a licensed mental health practitioner, gospel artist, motivational speaker, movie producer, Nollywood actor, and the CEO of several organisations, Debsandy has devoted her life to healing, inspiring, and transforming lives.

    Her dedication to mental health is deeply rooted in compassion and a desire to help individuals reclaim their emotional and psychological well-being. As a certified mental health practitioner, she offers therapeutic support that blends professional care with spiritual empathy, making her a trusted voice in personal development and emotional recovery.

    In the world of music, Debsandy shines as a gospel artist, known for her soul-stirring songs that uplift, heal, and inspire. Her music reflects her strong Christian faith, life experiences, and her passion for spreading the message of hope and salvation. Through worship and praise, she connects with diverse audiences, making her a respected voice in gospel music circles.

    As a motivational speaker, Debsandy has empowered countless individuals through powerful messages of purpose, resilience, and faith. Her storytelling ability, coupled with deep authenticity, enables her to speak into the hearts of both youth and adults, guiding them toward a life of meaning and impact.

    Debsandy is also a vibrant figure in Nollywood, both as an actor and movie producer. Through her film productions, she tackles real-life issues, promotes moral values, and inspires societal change. Her work in the film industry is purpose-driven, often focusing on stories that raise awareness on mental health, relationships, faith, and social justice.

    As a visionary entrepreneur, Debsandy serves as the CEO of several impactful initiatives:

    Debsandy Entertainment, a platform for wholesome, value-driven music and film content.

    Debsandy Foundation, focused on humanitarian efforts, mental health advocacy, and community empowerment.

    ICare Youth Health Awareness, aimed at educating and supporting young people on health, wellness, and life skills.

    Next Star Talent Show, a talent discovery and empowerment platform that scouts and nurtures young, creative minds in music, acting, and performance, offering them mentorship and a platform to shine.

    Her exceptional contributions have not gone unnoticed. Debsandy has been recognised with multiple prestigious awards for excellence in leadership, entertainment, and humanitarian service. She was also honoured with an Honorary Doctorate Degree in recognition of her outstanding impact and commitment to positive societal change.

    Beyond her professional and public achievements, Debsandy finds her greatest joy in her personal life. She is happily married and blessed with three lovely children, who continue to be a source of strength, inspiration, and joy.

    Driven by purpose and powered by grace, Debsandy continues to raise the bar in every endeavour. Her life’s mission remains consistent: to heal minds, inspire hearts, and create platforms for others to thrive. Whether counselling a client, producing a movie, performing a song, or mentoring emerging talents, Debsandy is unwavering in her call to serve and uplift.

    She is more than a name; Debsandy is a movement. A voice. A vision. A vessel for change.

  • Badagry’s Door of Return rekindles diaspora ties

    Badagry’s Door of Return rekindles diaspora ties

    Where once sorrowful farewells lingered, a new story is being written in Badagry. The Door of Return Tower, now under construction, transforms this historic slave port into a powerful symbol of reconnection—welcoming descendants of enslaved Africans back home, and turning a painful past into a promise of cultural rebirth and unity, reports Associate Editor ADEKUNLE YUSUF

    The Atlantic wind is warm in Badagry, but for some, it carries a chill—one heavy with memory. A woman from Haiti stands barefoot on the beach, her white garment fluttering as she gazes at the endless blue before her. Tears fill her eyes as she whispers into the breeze: “We made it back.” It’s a scene that has played out with growing intensity in recent years—a symbolic reversal of history. Where enslaved Africans were once forced through the Point of No Return to unknown lands, their descendants are now returning, not in chains, but in dignity. And at the heart of this renaissance is a new symbol rising from the coast of Badagry: the Door of Return Tower.

    Initiated by the Lagos State Government, the Door of Return Tower is far more than a monument—it is a profound statement of cultural renaissance, a symbolic portal that speaks to the soul of a people once violently dispersed. Rising from the historic soil of Badagry, this architectural gesture of homecoming seeks to repair the rupture of the transatlantic slave trade, reconnect fragmented identities, and reaffirm a shared African heritage that has withstood centuries of erasure.

    Announcing the development, Bonu Solomon, the lawmaker representing Badagry Constituency 1 and Chairman of the Lagos State House Committee on Tourism, Arts, and Culture, described the tower as a transformative landmark poised to draw global attention and inspire emotional pilgrimages. “This iconic landmark will become a premier tourism destination in Africa, especially for diaspora visitors,” Solomon said in a statement from Badagry. The tower is being erected at the High Chief Mobee Waterside in Boekoh Quarters, adjacent to the historic First Storey Building in Nigeria. It lies within walking distance of the infamous Point of No Return in Gberefu, the path through which thousands of enslaved Africans took their final steps on home soil before being shipped across the Atlantic.

    Unlike the Doors of No Return in Ouidah and Gorée Island in Darkar Senegal which commemorate loss and exile, Badagry’s Door of Return flips the narrative. “It represents welcome, reconciliation, and homecoming,” Solomon affirmed. It is not just a counterpoint to grief—but a channel for healing. The project, championed and inaugurated by Governor Babajide Sanwo-Olu, is part of Lagos State’s broader strategy to boost diaspora tourism and elevate cultural heritage as a cornerstone of identity and economic development. For Badagry, it is a long-overdue recognition—and an exciting new chapter in its storied history.

    Badagry is no ordinary town. Located on the western fringe of Lagos State, it served as one of West Africa’s busiest slave ports during the transatlantic slave trade. From the 15th to the 19th centuries, thousands of Africans were sold, branded, and shipped from its shores to the Americas and Caribbean. The “Point of No Return,” a narrow strip of land beyond the lagoon, marked the final steps taken on African soil by those destined for bondage.

    For centuries, that history was buried beneath silence, denial, and neglect. But now, Badagry is reclaiming its story—this time as a place not of departure, but of return. “This is about healing,” says Kehinde Adedayo, a local historian and descendant of freed slaves. The Door of Return Tower is a way of saying: we remember, we honour, and we welcome back those whose roots were ripped from this soil.”

    The Door of Return Tower is envisioned as a towering symbol of reconnection between Africa and its diaspora. According to Lagos State officials, the structure will house a genealogical centre, a museum of transatlantic history, and an amphitheatre for cultural performances. But beyond its physical design, it will function as a spiritual and emotional anchor for millions of diaspora Africans searching for home. The Lagos State Commissioner for Tourism, Arts and Culture, Toke Benson-Awoyinka, describes the tower as a “living bridge” between past and present. “It’s a call to sons and daughters of Africa to reconnect with their roots,” she says. “We’re not just building for tourism; we’re building for identity, dignity, and unity.”

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    The design of the tower draws from Yoruba cosmology and pan-African iconography. With soaring arches, engraved ancestral motifs, and sweeping ocean views, the structure will visually narrate a journey—from loss to return, from fragmentation to wholeness. Since 2017, Badagry has hosted the Door of Return Festival, a cultural and spiritual homecoming that welcomes descendants of enslaved Africans from across the globe. Delegations from the United States, Brazil, Jamaica, Haiti, and the UK have travelled to Badagry to participate in symbolic rites: walking barefoot across ancestral sands, receiving blessings from traditional rulers, and taking oaths to honour their African heritage. During one such event, Dr. Marcus Brown, a Jamaican educator, broke down in tears as he touched the ground. “For 400 years, we’ve been searching for this moment,” he said. “To come back and be received, not as tourists but as kin—it’s indescribable.” This emotional reconnection is what the Door of Return Tower aims to institutionalise—a standing invitation for reconnection, not just once a year, but every day of the year.

     The tower is also expected to trigger economic revitalisation in Badagry. For years, locals have complained about the town’s neglect despite its historical significance. Poor infrastructure, limited investment, and high unemployment have stifled its potential. Governor Sanwo-Olu sees the tower as a catalyst. “Badagry has long deserved its place as a global heritage destination,” he said during a recent site visit. “We are committed to building infrastructure that matches its importance—roads, hotels, museums, and cultural hubs.”

    Already, investors are taking notice. Boutique lodges and tour companies are springing up. Local artisans are producing Afrocentric crafts. And youth-led start-ups are exploring digital storytelling and genealogy services. “It’s not just about looking back,” says Ayodeji Omotoso, a 27-year-old entrepreneur. “It’s about building a future rooted in our cultural capital.”

    Still, some cultural advocates urge restraint. There are growing concerns that over-commercialisation could dilute the site’s sacred significance. “This is hallowed ground,” cautions a historian of African memory studies who requested anonymity. “It must not be trivialised into a tourist backdrop. This is a place of mourning, of resistance, of profound spiritual endurance. The narrative must be preserved with reverence.” To ensure this, Lagos State has established a multi-stakeholder advisory board comprising traditional leaders, historians, diaspora representatives, and cultural workers. Their mandate is to protect the integrity of the site while guiding its development responsibly.

    The Door of Return Tower is also serving as a tool of cultural diplomacy. With African unity and reparative justice gaining global traction, Lagos is positioning itself as a hub for Black consciousness and diasporic dialogue. The tower is being promoted in collaboration with the African Union, CARICOM, and UNESCO. Delegations from Barbados, Ghana, and Brazil have expressed interest in co-developing exchange programmes and dual citizenship policies. “This is Africa’s Ellis Island,” says Nigerian diplomat. “A place where the dispersed can trace their roots and the continent can reassert its leadership in the global Black identity discourse.”

    Yet, the Door of Return Tower also forces Nigeria—and Africans at large—to confront uncomfortable historical realities. Local complicity in the slave trade is part of that story. Some African rulers and merchants enriched themselves by selling fellow Africans into slavery. Acknowledging this does not weaken the narrative; it strengthens it. It opens space for honest healing and complex understanding. “We can’t tell a half-truth,” says Prince Yomi Akran, a descendant of Badagry’s traditional rulers. “Some of our ancestors participated in this evil. We must face it with humility and vow never to allow such dehumanisation again.”

     One of the most profound impacts of the Door of Return project may be on young Nigerians and Africans in the diaspora. As the tower rises, so too does awareness of identity, history, and global belonging. School excursions to Badagry are on the rise. Curriculum materials on the slave trade are being revised. Storytelling initiatives, podcasts, and short films are capturing oral histories and sharing them with new audiences. For diaspora youth disconnected from their heritage, the tower promises not just a lesson, but a legacy.

    When completed, the Door of Return Tower will not merely be a destination—it will be a spiritual compass, orienting Africa and its diaspora toward mutual recognition and unity. It will invite pilgrims to touch the soil, not as exiles but as heirs. It will inspire governments to invest in cultural dignity. It will teach children that their lineage is not defined by chains but by courage. Most of all, it will whisper across the winds that blow over Badagry’s waters: You are not lost. You are loved. Come home. And as the waves crash gently against the shore where ancestors once departed, the answer will rise—not in silence, but in song.

  • World Orisha Congress in search of roots, truth

    World Orisha Congress in search of roots, truth

    US-based scholar and former Vice Chancellor Obafemi Awolowo University, Ile Ife, Prof Wande Abimbola, has said that the planned World Orisha Congress should have been held in the past 50 years, saying that the realization to hold it now, is a little bit belated. But, he however added that it is better late than never.

    The renowned scholar on Yoruba religion, culture and philosophy, spoke virtually at the recent conference on World Orisha Congress organised by National Institute for Cultural Orientation (NICO), at the Braziain Consulate, Lagos. He said it is high time the Yorubas celebrated their religion and culture across the globe. “We should continue to sustain and nurture the meeting for our people across the globe,” he added.

    International Consultant, World Orisha Congress, (WOOCON) Mr. Ajoyemi Osunleye described the planned World Orisha Congress as not only a spiritual awakening,  but also a cultural homecoming where the ancient wisdom of the ancestors will meet the curios minds of the modern world in search of roots, truth, and divine connection. 

    He stated that world over, nations are leveraging cultural heritage to invigorate their economies through tourism, heritage diplomacy and spiritual renewal, adding that Nigeria home to the origins of Orisha traditions, must not be left behind. He noted that over 400 million people around the world identify with Orisha-based traditions, yet ironically, ‘many of us here have been taught to fear it, to hide from it or worse, reject it’ 

    Osunleye said with the birth of the congress, the world will see Africa not as a land of darkness but a fountain of divine light, knowledge and unmatched spiritual depth.

    “Thirteen years ago, I walked the streets of Brazil for the first time. There, I saw Yoruba culture alive–respected, practiced, and cherished in ways that shook me to my core. What I was conditioned to dismiss in Nigeria was celebrated as sacred in Brazil. It was a painful realisation: we had abandoned our well of wisdom while others across the ocean protected its flame for centuries.

    “Brazil and Nigeria are two brothers separated by centuries of pain. But, despite the separation, our brothers in Brazil guard the flame. They preserved our songs, our prayers and rituals—unaltered. While we in Africa drank from other wells and forgot our own, they remembered. And today, it is time to reconnect. It is time to become whole again,” he added.

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    Osunleye stressed that the goal of the congress is to showcase the sophistication and spirituality of Africans, noting that many of African artefacts now sit in Western museums carbon dated to 6,000 years.  “Think about it, the African mind that created these wonders predates modern civilisation…What wisdom did the maker of Ori Olokun carry in their spirit to create such magnificence? What if we could retrieve just a fragment of that inspiration today? Why should you allow anyone to convince you that the maker of Ori Olokun – an artistic and spiritual masterpiece of our ancestors—is evil? Why should you believe that the Orisha, divine beings created by God, are evil? Why should you believe that your own ancestors- the ones whose prayers brought you here—were evil?” he asked. 

    The conference was attended by Oba Adeyeye Enitan Ogunwusi Ojaja II, the Ooni of Ife and Global Patron of the World Orisha Congress (WOOCON), Prof Wole Soyinka, Brazilian Ambassador to Nigeria, Manuel Innocencio de Lacerda Santos Junior, Executive Secretary, NICO, Otunba Biodun Ajiboye, Ambassador Erieka Bennett, Olori Francis Meshioye, Mrs Sally Mbanefo  among others.