The Nation Newspaper

Category: Arts & Life

  • Mother Earth: Uzoka’s penchant for environment

    Mother Earth: Uzoka’s penchant for environment

    Chike Felix Uzoka is one of Nigeria’s contemporary visual artists with about three decades of post-Art School experience. Since leaving school, he featured in major art exhibitions in Nigeria, such as the PACA exhibition in Banjul, Gambia, Dakar, Senegal and the United Kingdom. Some of his works include The Last Super and The Sacred Heart of Jesus at St Micheal Catholic Church, Obudu, in Cross Rivers State, and a Papier mâché relief sculpture at the Holy Family Church, Abuja.  Uzoka studied sculpture at the Institute of Management and Technology, Enugu, earning the Ordinary National Diploma (OND) and Higher National Diploma (HND) between 1988 and 1995. He is a member of the Society of Nigerian Artists (SNA) and the Pan African Circle of Artists (PACA).

    Uzoka specialises in ornamental functional arts, rendering free-standing sculptural jobs and mural paintings in places of worship and private homes. He is currently working on recycling used papers to produce free-standing sculptures.

    A peep at his current sculpture Mother Earth installed in Moriri Art Gallery in Port Harcourt, Rivers state, Nigeria reveals the artist’s penchant for installation as platform to initiate dialogue, inform and promote understanding between the audience and the work of art.

    Mother Earth, a reminder of mask and masquerade is still a common place in most modern and contemporary Nigerian art, as masquerading cultures constitute dominant social institutions in rural cultures, particularly during rituals, burials and entertainment or festive periods.

    Like installation that it is, Mother Earth is a collection of different found objects, textile materials of different colours and sizes, and stone made into a 3-D piece. It consists of a piece of stone that tops the piece, which forms the head, while the trunk is made from found objects like wood, empty gin bottle and fabrics without any desired pattern. But, the frontal part of the head shows a carved face in the curvilinear heart-shaped outline reminiscent of ancient African sculptures. 

    It also shows a set of bulging eye balls separated by a cylindrical nose set on curved flattened chins that terminate within the stylised lips sideways. The facial arrangement of face reflects the traditional style common among Africans particularly the West coast of Africa. Its broad wooden base upon which it stands, symbolizes the roots of African culture that forms the foundation of everyday life in the continent.

    Beyond the form and content of the installation, Mother Earth is a personification of nature, with a particular focus on the nurturing and life–giving aspects of the natural world. Yet, it symbolizes femininity, nurture growth and new life.

    The effective use of different objects in the composition of the sculpture is not only a testament to the inter-relatedness and dependence of each unit on the other for the wholesomeness of the figure, but also a confirmation of oneness of the earth. That is another underlying strand of the piece not very obvious to many. Notwithstanding the diverse nature of these objects, there is a seamless harmony and unity.

    Read Also: Green Earth Action Foundation Sponsors Major Makoko Waterfront Cleanup Challenge in Lagos

    Essentially, what’s the message of the installation and its implication to the living and the contemporary cultural setting? Depending on the perspective you are looking at the installation, it can be a strong advocacy tool for environmental and climate justice-promoting protection, restoration, conservation, greener and cleaner ecosystem. It therefore cautions man in his abuse of the mother earth in order for the sustenance of its various benefits.

    However, it is also a means to generate dialogue between audience and the work as every component tells different stories about man and its environment and culture. Uzoka may have been sarcastic in reminding the world of the need to mitigate climate change by changing our attitudes from how those found objects in Mother Earth were used and dumped, to a safer and greener ecosystem.  But, that strong and timely message is never lost.

  • Museum, IFRA promote unsung objects

    Museum, IFRA promote unsung objects

    The management of National Commission for Museums and Monuments, (NCMM), in collaboration with the Institut Francaise De Recherche  En Afrique (IFRA-NIGERIA),  recently unveiled no fewer than 64 objects in its collection that are hitherto ‘unpopular’ among Nigeria’s cultural heritage. The exhibition tagged Nigeria Alternative Heritage: Beyond the Classical, Unveiling the Unsung, that opened last Monday at the National Museum, Onikan, Lagos, is to identify, promote, protect and disseminate alternative heritage in the country. These objects are referred to as alternative heritage because they have been forgotten overtime and therefore risk been lost or going into extinction. The exhibition, which will run till May 13, was declared open by Prof Ebun Clark, supported by Dr. Kunle Adeyemi.

    Some of the restored objects selected from minority groups in the country include Wooden Headdress, Ikenga, Door panel, Bellows, Ladi Kwali pot, spear, cane shield, water spirit, headdress, ayo olopon, ceremonial clay pot, Nupe wooden stool, Afo fertility figure, Orisa oko and Gula face mask.

    Wooden Headdress, a 19th Century piece from Ijebu Imosan, Ogun State is an Agemo headdress worn by priests of the cult of Agemo during the cult festival, which is celebrated during the sixth and eighth months of the year to appease the ancestors for community cleansing. The festival features musical performances with Esi and Aran-ofida drums. The community believes that the festival will prevent outbreaks of epidemics, ward off evils, and assure adequate rainfall for cultivation.

    Ikenga (19th-20th Century) work from the Nri Kingdom in Anambra state. Ikenga, which symbolises ‘place of strength’, is a personal deity that represents a man’s power, achievement, and ability to succeed. It is often depicted with horns and holding objects signifying victory or tools of trade. The belief is grounded in the culture that the power for a man to accomplish things is in his right hand, while the left hand generally holds some symbol of triumph. The object serves as a mirror to its owners, reflecting both their achievements and aspirations.

    But the Door panel (Mgbo ezi) is a 19-20th Century wooden sculpture from Nri-Awka, Nsukka, Anambra State, used primarily as entrance to the homes of titled individuals and wealthy families. The carved panel is found in the compounds of titled individuals and wealthy households; it serves as a symbol of status, wealth and artistic expression. The panel is a key element in the social and ritual hierarchy of the Ozo society, where men gained membership through social, ritual and financial obligation. The panel often adorned the Obu, a space within the compound use for sleeping, receiving guests and as a personal shrine. The intricate carvings and patterns on the panel can be interpreted as virtual representation of the household status and privileges with the Ozo society.

    Read Also: Shyllon Museum, law firm empower Nigerian artists

    Bellows (Igbagba) a 19th Century artifact from Owo, Ondo State, is a traditional blacksmithing tool used to supply air to a forge, increasing the temperature of the fire for melting and shaping metal. The bellows consist of two wooden paddles connected by leather, which when pressed together, force air through a nozzle into the forge.

    Curator National Museum, Onikan Lagos, Mrs. Nkechi Adedeji, said the exhibition theme is born out of Nigerian alternative heritage with the aim of making the unpopular cultural heritage in museum collections popular, particularly those from the minority groups. She stated that in order to continue to preserve our mother tongue, food, dress, music, and dances from extinction, the exhibition became necessary.  

    “These works, which were painstakingly carried out by museum professionals are further divided into different categories for easy identification and viewing at a glance. These include Household/Architecture, Fertility, Occupation, Entertainment/Leisure, Ancestral, Warfare and Governance/Royalty which were drawn from across the six geo-political regions in Nigeria with diverse cultures.

    “After a rigorous selection and de-selection process for several weeks by the exhibition team, a total of sixty-four (64) priceless selected objects are being exhibited today for your delight. Unveiling the unsung is our focus as reflected in the theme. These objects and artifacts have not been lauded or appreciated despite its existence. As a people, we must encourage our children, friends, traditional leaders, youth leaders to ensure our heritages are preserved for the unborn generation,” she added. 

    Director IFRA, Nigeria, Dr Barbara Morovich disclosed that two doctoral grants will be awarded by a selection committee of the University of Ibadan on archives and digital humanities about National Museum Lagos Archive. She said the two PhD students will be financed by the FAFTA.

    She recalled that the on-going exhibition is a follow up to the 2022 FSPI project and that with FAFTA the team has digitised enormous works in the archives. She said a website was created through information is disseminated. But she noted that digitisation has no sense, no impact and no future without dissemination. “It’s really important for us that people must have access to their own heritage through digitisation. This is number one priority on this project now. So, this project can really be a model of civic engagement of the number one museum in an African country.

    “So, this aspect of dissemination for me is so important. And the other achievement I want to point out is that there is no good project if it is not followed by research. Research gives the project academic validation and for sure I know that the museum is always on researching things. All these achievements, all these projects are the fruits of a good team work. Transparency, discussion, agreement and disagreement sometimes but in all, it makes people enjoy working together,” she added. She stressed the significance of training of staff of the commission in order to meet the challenges of modern time.

    Exhibition Project Leader, Mr Tunji Busari urged viewers to look beyond well- known narratives and celebrate the often overlooked aspects of our heritage, noting that it ‘challenges us to recognize the stories, practices and artefacts that deserve attention, honouring the diversity of our cultures.’

    According to him, each of the selected artifacts from different cultures is telling its unique story and that they ‘remind us of the creativity and resilience of our people, showcasing unsung heroes and narratives.’

    Beyond the exhibition, the training of staff, restoration and digitization of museum’s collection remain the most significant aspect of the partnership between NCMM and IFRA. However, the state of museum storage facilities and safety of these priceless artefacts also call for prompt attention so as to preserve the nation’s heritage for future generations. 

  • How 2025 AMVCAs raise the bar, eyebrows

    How 2025 AMVCAs raise the bar, eyebrows

    On a night where elegance met emotion and applause masked deeper murmurs, the 2025 AMVCAs emerged not just as a celebration, but as a reflection. Beneath the shimmer of gowns and spotlighted triumphs, Africa’s storytellers gathered in Lagos to honour craft — and confront questions. From history to hope, acclaim to controversy, the night revealed more than winners; it showcased the soul of a cinema industry both rising and reckoning, report Entertainment Editor, GBENGA BADA and ADENIYI ADEWOYIN

    In the glimmering heart of Lagos, where the city’s pulse thrums with the rhythm of dreams and industry, a night of cinematic reverence came alive over the weekend. The 11th edition of the Africa Magic Viewers’ Choice Awards (AMVCAs) lit up the Eko Convention Centre at the Eko Hotel and Suites, transforming Adetokunbo Ademola Street into a corridor of elegance, promise, and the triumphant sound of Africa’s creative ascent.

    For an evening, the continent’s most brilliant filmmakers, actors, writers, editors and technicians stood in unity — not just as competitors in 27 prestigious categories, but as custodians of a growing legacy. A legacy nurtured from fan-voted beginnings and now elevated to a refined institution of peer-reviewed excellence, with 18 categories decided by a respected jury of seasoned professionals. From its modest origin to a revered hallmark of achievement, the AMVCAs have become more than an award ceremony — they are a celebration of Africa’s kaleidoscopic storytelling power.

    Veteran broadcaster and showman IK Osakioduwa returned to the stage, this time joined by a striking young co-anchor — 16-year-old David Oke — whose charm and confidence belied his age. Together, they carried the ceremony with humour, grace, and a touch of generational balance, enlivening the three-hour broadcast that went live across all Africa Magic channels. The interludes between awards were textured with soulful performances from some of Nigeria’s finest: Johnny Drille’s acoustic melancholy, Serotonin’s infectious beats, Chima’s evocative melodies, Kunmie’s fusion sound, and Fido’s commanding presence each layered the night with musical elegance. But it was the stories — real and fictional, told and honoured — that reigned supreme.

    At the very core of the night’s acclaim stood Freedom Way, a film that edged out the competition to claim the coveted Best Movie Award. Its victory was the climax of the evening, met with applause, admiration and — later — controversy. In a powerful and emotionally resonant sweep, Seven Doors emerged as a standout. Not only did it showcase the depths of human resilience, but it also delivered unforgettable performances. Femi Adebayo and Chioma Chukwuka, both icons, earned Best Actor and Best Actress respectively for their commanding portrayals. Composer Tolu Obanro made history as the inaugural winner of the Best Original Score, marking a new chapter in how the awards recognise the technical brilliance underpinning cinema.

    The AMVCAs also celebrated linguistic diversity through Lisabi: The Uprising, a powerful historical narrative that scooped multiple honours — Best Indigenous Language Film (West Africa), Best Makeup, Best Art Direction, and the top award for Best Indigenous Language Film overall. The triumph was a vivid reminder of how indigenous stories continue to assert their importance in contemporary African filmmaking. The Legend of the Vagabond Queen of Lagos dazzled with its visual grammar, winning Best Cinematography through the lens of Leo Purman, while Inkabi was finely sculpted in the edit suite by Tongai Furusa, who won Best Editing. In supporting roles, Gabriel Afolayan’s compelling performance in Inside Life earned him Best Supporting Actor, while Mercy Aigbe, in The Farmer’s Bride, clinched Best Supporting Actress. Inside Life also triumphed as Best Scripted Series, reinforcing its cultural and narrative relevance.

    Reflecting the rapidly shifting media landscape, this year’s AMVCAs embraced digital content and short-form storytelling with a sincerity that mirrored Africa’s youthful demography. Iyo Prosper Adokiye was named Best Digital Content Creator, validating a new era of creators who wield smartphones as storytelling swords. Brukaci secured Best Short Film, a quiet triumph for brevity and impact. The unscripted world also found its spotlight. Nigeria Idol, a consistent ratings magnet, was lauded as Best Unscripted M-Net Original, while Wa Milele walked away with the Best Unscripted Series title — evidence of the enduring power of real-life storytelling.

    One of the night’s most-stirring moments came when Kayode Kasum received the Trailblazer Award. The young director, known for his fresh visual language and sensitivity to contemporary narratives, was visibly moved as he accepted the accolade — a symbolic passing of the torch to a new generation. Equally poignant was the presentation of Industry Merit Awards to Nkem Owoh and Sani Mu’azu. For decades, their faces and voices have animated African living rooms, their artistry shaping the very fabric of Nollywood. Their honour was less a nod to the past and more a declaration that legends walk among us.

    The Best Director Award went to Awam Amkpa for The Man Died, a film that had swept 13 other industry awards and closed the African Film Festival at Lincoln Centre in New York. His win was, however, not without raised eyebrows, given that the film’s producer, Femi Odugbemi, also chaired this year’s AMVCAs jury.

    Read Also: AMVCAs: UcZhe Ikejimba secures sixth nomination

    Other notable wins included Suspicion for Best Sound Design, Christmas in Lagos by Ademola Adeyemi for Best Costume Design, and Freedom Way again for Best Writing in a Movie — further reinforcing its dual status as both a narrative and structural feat. Untying Kantai by Abel Mutua Musyoka took Best Writing in a TV Series, showcasing cross-regional talent.

    From Lusaka to Lagos, Nairobi to Nelspruit, the continent spoke through film. Regional categories reminded everyone that African cinema is not a monolith. Mwizukanji triumphed as Best Indigenous Language Film (South Africa), Makosa Di Tangu for East Africa, and Onye Agbata Obim as Best Indigenous M-Net Original. My Fairytale Wedding was honoured as Best Scripted M-Net Original, while the Best MultiChoice Talent Factory Film, Everything Light Touches, underscored the future promise of emerging creatives.

    As the confetti settled and applause echoed into the Lagos night, murmurs of discontent began to rise. At the centre of controversy were two of the night’s biggest wins — Best Director and Best Movie. While no one doubted the cinematic excellence of The Man Died, critics pointed to a conflict of interest. That its producer also presided over the jury cast a shadow, however faint, on what should have been an unambiguous triumph. Could the jury have recused itself from categories involving its own productions? Was transparency sacrificed for excellence?

    The Best Movie award to Freedom Way also sparked debate. How did a film without nods for Best Cinematography, Editing, Acting, or Art Direction emerge as the overall winner? It raised questions not about the film’s merit, but the coherence of jury decisions and the criteria employed. The AMVCAs, now partly peer-reviewed, stand at a delicate intersection — between crowd-pleasing and critical rigour, between spectacle and scrutiny. The controversies, while unfortunate, are perhaps proof of a maturing industry. One that is not afraid to ask questions of itself.

    The 2025 AMVCAs were, undoubtedly, a visual and cultural feast — a night of celebration, self-reflection, and cinematic splendour. They showcased the best of what Africa has to offer: audacity, originality, craft, and colour. But they also left room for introspection. As African cinema continues to expand its reach — to streaming platforms, global festivals, and new audiences — so too must the standards of honour and judgement evolve. For now, the stars have taken their bows, the gowns and tuxedos returned to their wardrobes, and the afterparties faded into memory. But what lingers is the promise of a continent forever in bloom — telling its stories, in all their beauty, complexity, and contradictions. The AMVCAs are not just awards. They are a mirror. And on May 10, Africa gazed proudly at its reflection — bold, bright and ever becoming.

    Speaking on the significance of this year’s event, Executive Head of Content and West Africa Channels at MultiChoice, Dr. Busola Tejumola, offered a reflection as stirring as the night itself. “The AMVCAs reflect the ambition of a continent in motion. These stories are no longer emerging, they are defining global conversations. Africa Magic and MultiChoice are proud to be the platform of that power,” she said.

    Her words rang true. From the grandeur of the red carpet to the sincerity of acceptance speeches, from the musical interludes to the cultural fusion of nominees across Africa, the night offered more than awards — it offered a statement. A statement that African cinema is not waiting to be discovered. It is writing itself boldly into the global narrative.

    Industry insider defends jury integrity amid criticism

    The Nation reached out to the organisers of the AMVCAs for a response to the growing conversations and controversies but none was given.

    Speaking on condition of anonymity, an industry insider defended the integrity of the process, particularly regarding the Best Director win for The Man Died, directed by Awam Amkpa and produced by Odugbemi, who also chaired this year’s jury. “I don’t understand the noise about Anwa Akpam winning Best Director for the film, The Man Died.

    Yes, Odugbemi is the producer but that doesn’t stop him from submitting his film. All these while he has been submitting his works that didn’t get nominations or didn’t get to win, no one has made any noise.

    “I can tell you that the policy is that when a judge or head judge submits a film for the award, he or she doesn’t even know if the film will get a nomination or not but if the film gets a nomination and it’s time for voting, the judge is excused from judging his or her own film. Odugbemi is a man of high integrity and I can tell you that the organisers of AMVCAs don’t joke with such thing as integrity but you know people are always aggrieved year in year out that their favoured films didn’t get the expected wins,” he said.

  • Chimamanda to headline “Things Fall Apart” festival in Enugu

    Chimamanda to headline “Things Fall Apart” festival in Enugu

    Celebrated Nigerian novelist and global literary icon, Chimamanda Ngozi Adichie, will headline the inaugural edition of the Things Fall Apart Festival scheduled to take place in Enugu from June 29 to July 5, 2025. 

    The event, themed “Masculine, Feminine, Human: The Dialogue of Complements in Things Fall Apart,” will honour the enduring legacy of Chinua Achebe, the late literary giant and author of the landmark novel Things Fall Apart.

    Adichie, who has recently been on an international tour promoting her highly anticipated new novel Dream Count, will deliver the festival’s keynote address. 

    Her remarks will explore the thematic foundation of the festival—an interrogation of gender dynamics and the human condition as presented in Achebe’s classic novel. She is expected to reflect on the Achebean legacy in storytelling, its rootedness in cultural identity, and the continued relevance of Things Fall Apart in global literature and discourse.

    Read Also: Chimamanda, Akindele, others to headline event

    The week-long festival, organised by the Enugu-based Centre for Memories – Ncheta Ndigbo, is an ambitious expansion of the annual Things Fall Apart Day, which is now in its fifth year. This inaugural festival seeks to match the magnitude of Achebe’s impact on world literature through a rich lineup of artistic and cultural activities.

    Highlights of the festival will include a re-imagining of the fictional Umuofia village, with live performances, dramatic readings, and saloon-style conversations featuring cultural leaders and storytellers. There will also be immersive technological installations that reinterpret Achebe’s narrative through modern lenses.

    In addition to performances and panel discussions, the festival will feature a curated art exhibition, an essay competition open to students in senior secondary and tertiary institutions as well as the general public, film screenings, and guided memory walks through significant cultural sites in Enugu. 

    A major attraction will be a special appearance by actors from the 1987 television adaptation of Things Fall Apart, including Nollywood legend Pete Edochie, who famously portrayed the lead character, Okonkwo. The iconic Ajofia masquerade—an important figure in Achebe’s work—will also make a dramatic appearance during the re-creation of the Umuofia experience.

    Organisers say the event is not just a tribute to Achebe but also a platform for expanding conversations around gender, culture, and the evolving role of literature in shaping social consciousness. 

    The festival aligns closely with broader media and cultural commitments to highlighting stories that define humanity and shift global narratives

  • Bimbo Ademoye joins Malanter as brand ambassador

    Bimbo Ademoye joins Malanter as brand ambassador

    Nkoyo Pharma Ltd, makers of the trusted anti-malaria medication Malanter, has announced the signing of award-winning Nollywood actress Bimbo Ademoye as its brand ambassador.

    This strategic move follows the successful onboarding of Aproko Doctor, further reinforcing Malanter’s commitment to championing health education and malaria treatment in Nigeria.

    Ademoye, known for her relatable persona, infectious energy, and strong social media presence, will play a pivotal role in driving awareness, trust, and engagement with the Malanter brand—particularly among families, young adults, and women.

    Read Also: Tobi Bakre, Bimbo Ademoye feature in Nemsia’s new feature, ‘Suky’

    “I’m thrilled to partner with Malanter, a brand that shares my passion for health and wellness. Together, let’s spread awareness about malaria prevention and responsible treatment and empower our communities. We will work together to ensure we enjoy a malaria-free community,” said Ademoye.

    “We are happy to welcome Bimbo Ademoye to the Malanter family,” said Pharm Kevin Amoke, Head of Sales and Marketing Manager at Nkoyo Pharma Ltd. 

    “Her authenticity and broad appeal make her a perfect fit for our mission to provide effective malaria treatment that’s accessible, affordable and trustworthy for every Nigerian household.”

  • GESA 2025 summit to spotlight Africa’s diplomatic, business excellence in Lagos

    GESA 2025 summit to spotlight Africa’s diplomatic, business excellence in Lagos

    Top diplomats, government officials, business executives, and thought leaders from across Africa and the diaspora are set to converge in Lagos for the 2025 edition of the Global Excellence Summit & Awards (GESA).

    It is scheduled to take place from May 23 to 24 at the prestigious Oriental Hotel in Victoria Island, Lagos. 

    The event is being organized in collaboration with prominent international and regional bodies, including the African Union Agenda 2063 Ambassadorial Assembly, the United Nations International Peace and Governance Council (UNIPGC), the Nigeria-Canada Parliamentary Friendship Inc., and the International Society of Diplomats.

    GESA 2025 is focused to foster cross-sector collaboration on governance, diplomacy, and sustainable development.

    With the theme “Global Excellence in Diplomacy & Leadership: Africa’s Path to Prosperity,” the two-day summit will feature keynote addresses, business and diplomatic panel sessions, innovation showcases, and capacity-building masterclasses. 

    The event is being convened by Amb. Dr. Fatoumatta Gaye, Vice Chairperson of the AU Agenda 2063 Women and Gender Committee and CEO of Top3 Solutions.

    According to Dr Gaye during a pre-press briefing, “This is not just an event—it’s a movement to position Africa as a global force for excellence. We are honoring those who are transforming systems and inspiring progress across the continent.”

    Read Also: Badaru pledges support for national security summit 

    The two-day event will kick off on May 23 with a full-day summit featuring a series of high-level engagements. 

    Activities on the first day will include keynote speeches by influential global and African leaders, panel discussions focused on diplomacy and business, as well as exhibitions showcasing innovation across sectors. 

    Attendees will also benefit from exclusive networking sessions and masterclasses on leadership and diplomacy.

    On May 24, the summit will conclude with a black-tie awards gala, where over 100 individuals and organizations making significant contributions across various sectors will be honored. 

    Award categories include the Global Excellence Awards, AU Women Impact Awards, and the He-for-She Honors, which recognize male allies advocating for gender equity.

    Several high-profile dignitaries are expected at GESA 2025, including the Minister of State for Labour and Employment, Hon. Nkeiruka Onyejeocha, and Justice Mainasara Ibrahim Kogo Umar, Chairman of the Code of Conduct Tribunal. 

    Also anticipated are high commissioners from The Gambia, Zambia, and Sierra Leone, alongside an array of Nigerian governors, senators, private sector executives, and cultural icons.

    GESA 2025 is open to stakeholders, media organizations, sponsors, and members of the public. Registration and table bookings are available via the official website: www.gesawards.com

  • Ododo speaks on upcoming single ‘Daily Bread’

    Ododo speaks on upcoming single ‘Daily Bread’

    Independent Lagos-based artist, Ododo, is set to release his latest single titled Daily Bread on May 30, a track designed to motivate young people and everyday hustlers navigating tough times.

    Born Samuel Ugbebor, Ododo blends Afrobeat and Afro-drill to create music that resonates with the struggles and triumphs of the average Nigerian. With a background in Computer Science and a deep-rooted love for music, the singer-songwriter said he draws inspiration from legends like Fela Anikulapo Kuti and Burna Boy.

    “As a black boy from an African home, music has been my constant comfort,” said Ododo, who began creating music a year ago.

    According to him, Daily Bread is more than just a song—it’s an anthem for resilience. “Every day’s a hustle, and Daily Bread is the soundtrack to your grind. Fuel your ambition, chase your goals, and make every moment count,” he said.

    Produced, mixed, and mastered by award-winning producer Masterpiece, the track encourages listeners to keep pushing through adversity, with a message of hope, perseverance, and determination.

    Outside of music, Ododo is also a visual artist who enjoys bringing his imagination to life through custom artworks. When he’s not creating, he unwinds by watching cartoons and TV shows.

    With Daily Bread, Ododo aims to shine a light on those in the shadows, empowering them to keep moving forward, one step at a time.

  • Gender Rights Advocate Omowumi Ogunrotimi honoured with 2025 Global Citizen Prize

    Gender Rights Advocate Omowumi Ogunrotimi honoured with 2025 Global Citizen Prize

    Gender rights advocate and lawyer, Omowumi Ogunrotimi, has been honoured with the prestigious 2025 Global Citizen Prize at an award ceremony held in New York City recently.

    Omowumi was celebrated alongside other distinguished changemakers: Valeriia Rachynska of Ukraine, Taily Terena of Brazil, and Lydia Amenyaglo of Ghana, in recognition of their outstanding contributions to advancing equity and justice in their respective communities.

    Ogunrotimi’s recognition is a global acknowledgement of her impactful work and footprints in the gender ecosystem, including leading the advocacy effort that resulted in the passage of the Anti-Sexual Harassment Bill by the Federal House of Representatives and the localisation of sexual harassment prevention frameworks by 26 sub-national governments.

    The high-profile event attracted global attention and was attended by world leaders, policy influencers, and human rights advocates.

    Notable dignitaries present included United Nations Deputy Secretary-General Amina J. Mohammed, Sarah, Duchess of York, celebrated science educator Bill Nye, and Professor José Manuel Barroso, Chair of the Gavi Board.

  • Dame Abimbola Fashola honoured at ‘An Evening With’ celebration in Lagos

    Dame Abimbola Fashola honoured at ‘An Evening With’ celebration in Lagos

    It was an evening of laughter, music, and heartfelt appreciation as members of the Nigerian entertainment community gathered to celebrate Dame Abimbola Fashola, the former First Lady of Lagos State, at a special event held in her honour on Saturday, May 3, 2025.

    Tagged An Evening with Dame Abimbola Fashola, the strictly-by-invite event took place at Terra Kulture, Victoria Island, Lagos. The event marked her 60th birthday and celebrated her enduring support for the Nigerian entertainment industry.

    Veteran comedian and media personality, Yaw, who organized the event, described the night as a way of paying tribute to a woman who had opened doors for many entertainers during her time as First Lady.

    “I want to say thank you to everyone that came out tonight. We just thought about it and said it’s important to celebrate our mummy. She’s done a lot for us. She brought most of us comedians closer to the government house back then at Marina,” Yaw said.

    Read Also: Dame Abimbola Emmanuella Fashola @ 60

    He added that every performer came willingly, without asking for pay, because of the love and respect they have for Mrs. Fashola. “As I reached out to everyone, I said Mama has been there for us and I want to do this to honour her, and they all agreed. Tee A also jumped on it, and he did a lot to make this possible. Thanks to all the media houses that came out,” he added.

    The event featured rib-cracking performances from comedians including Senator, Tee A, Forever-MC, ATM, Bowjoint, Lepacious Bose, MC Monica, and Phronesis, all of whom entertained the celebrant and her husband, former Governor and former Minister, Mr. Babatunde Raji Fashola, who was also in attendance.

    Adding more colour to the night were surprise musical performances by Tosin Martins and pop star Korede Bello, who also gifted the celebrant his signature fragrance, Koredey. Rising artist Neo Phlames serenaded Dame Fashola with his viral hit Kadara, while live band sets further energized the audience.

    According to Yaw, An Evening With will become a quarterly event to honour individuals who have contributed meaningfully to the growth and support of the entertainment industry.

  • ANA set for writers’ village in Lagos

    ANA set for writers’ village in Lagos

    It is obvious that Lagos State as the economic, commercial and literary hub of Nigeria deserves to have a writers’ resort. Over the years, the Association of Nigerian Authors (ANA) Lagos State Chapter had been one of the most resourceful and boisterous chapters of ANA. Time was when ANA Lagos made it a point of duty to organize monthly readings and other literary activities on a regular basis. In those years, other chapters of ANA used Lagos as an example of how writers’, authors and culture enthusiasts should handle the affairs of stakeholders in the sector, thereby igniting interest in authorship.

    But at a point, lethargy set in. The leadership of ANA in Lagos went into slumber, a slumber that created a yawning vacuum. This vacuum became so blatant that at the national level of ANA other stakeholders wondered what was amiss. Tongues wagged, criticisms set in. Suggestions were made with writers’ mostly those based in Lagos who began to have a rethink. Suddenly ANA Lagos under the leadership of Dr. Bosun Taofeek regained its esteem. So today it can be safely said that ANA Lagos is back on the beat. It has bounced back to regain its lost glory.

    Now fully charged to take the rigours of the day, writers’ mooted the idea of the writers’ resort in Lagos. The result was a planned courtesy visit last week to his Royal Majesty Oba Riliwan Babatunde Akiolu of Lagos. In the team to visit the Oba were the National President of ANA Dr. Dipo Akanbi, Dr. Bosun Taofeek (Lagos State chapter chairman), Dr. Tolu Ajayi, medical doctor turned writer, Henry Akubuiro of the Sun Newspapers, Vine Paul, Secretary ANA Lagos, my humble self and others

    In his speech Akanbi traced the history of ANA in 1981 when the late Professor Chinua Achebe and others converged at the University of Nigeria Nsukka (UNN) where they formed ANA as a way to let authors and writers’ have a united central body where their interests and voices are well taken care of. He told Oba Akiolu and his white cap chiefs that Lagos deserves to have a befitting writers’ village or resort where authors can have the rare opportunities to produce books and other literary items. For Akanbi who himself is a university Lecturer and also owns a writer resort in his homestead in Ilorin Kwara State, a resort in Lagos will always serve as a beacon of hope for the young and old writers in the society.

    “Lagos was the capital of Nigeria”, he recollected. “Today it is the most economically buoyant state in Nigeria. Therefore, a writers’ village here will convey and activate more hopes and inspiration for more writers. As people come into the state, and as more writers’ aspire to rediscover themselves, Lagos will continue to serve as a rallying point”.

    Akanbi also used the opportunity to draw the attention of His Royal Majesty and his Chiefs to the writers’ resort in Abuja owned by Nigerian authors. “We have a big and expansive writers’ village in Mpape, Abuja”, the president reiterated for the benefit of those who did not know. “The land was given to ANA in 1986 by the then minister of the Federal Capital Territory Major General Mamman Vatsa. But after several years of delay, ANA has been able to reclaim the land by developing it into the biggest and most resourceful and elegant writers’ resort in West Africa. It is a big hub now and also has hotels, lodging apartments and above all a writers’ residency. This is why we believe that it is the turn of Lagos to have its own forthwith”

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    Akanbi told the gathering that ANA has planned to have a resort each in the six geopolitical zones of Nigeria. “Since culture is part of what keeps us together, we will use this as a weapon to foster unity in the society. ANA is in all the states of the federation and so it will be easier to use that as a clout to reach all the nooks and cranny of Nigeria”

    We believe that since lands everywhere in Nigeria come under the exclusive reserve of traditional rulers and chiefs, Oba Akiolu therefore is in a better position to facilitate this move. As he spoke the Oba nodded their   head intermittently and listened intently. Even the white cap chiefs who came in their numbers nodded the acclaim. It was a large gathering as Oba Akiolu and his chiefs glittered and shimmered in their overflowing white gowns and caps. They looked on with maximum interest and turned attention to Akanbi as he spoke.

    For the chairman of ANA, Lagos, Taofeek, Lagos should be the next to have a writers’ village after Abuja. “We are here to solicit your help”, he began. “We hope and have the resolve in our hearts that as someone who believes in the powers of culture, you will provide a space for us to build our own writers’ village here in Lagos”. Taofeek who is also a scholar described himself as a Lagos boy though of Egba origin. He recalled how his grandfather found solace and home in Lagos since time past. He therefore told Oba Akiolu that a place for ANA will be a worthy venture to bring writers of different hue and class to Eko not just for the normal Eko for show but to expand its frontiers as the most vibrant and robust commercial nerve of Nigeria”

    In his response, Oba Akiolu was elated. He described the demand as a good one. “You see writers have helped to shape the face of this society. Their contributions to the growth of Nigeria are immense. Culture is one of the central issues that keeps Nigeria as one. As a literary guru in his own respect, Oba Akiolu quoted Shakespearean books copiously to buttress his points. He told the writers body that Lagos was willing to accommodate them so long as the venture will be exclusively for the purpose of enhancing the beauty of authorship. He drew attention to a piece of land granted to the movie industry which they later appropriated into commercial and business venture. He warned that he would never tolerate such attitude should he finally grant the request of ANA.

    Oba Akiolu who was delighted to welcome Akanbi, son of the late Justice Mustapha Akanbi, the pioneer chairman of ICPC to his palace, inundated everyone with the history of his friendship with the late Akanbi. He kept turning to the president to make his remarks sink. “Your father also encouraged me to study law. He was always there for me. Even when he left Lagos for Ibadan and later to other parts of Nigeria where he held sway, our friendship continued. I cannot forget his words of encouragement which he gave to me from time to time. He was indeed a worthy friend”, he said as he beckoned on Akanbi for a closer warm embrace and handshake. Nonetheless, Akiolu recalled the many contributions of Professor Wole Soyinka, to literature, to knowledge, and to nation building.

    The Oba used the opportunity to advice Nigerians, particularly the younger ones to work for the unity of the country. “On individual level people should aspire to make the nation one. Let love and peace rule the hearts of people. Government cannot do it alone. People should help President Ahmed Bola Tinubu to make the society grow. There is nowhere in the world where government alone develops the society. It is usually the collective work of all. Everyone has a role to play to ensure that Nigeria attains its goals. Culture is one of the best forms of unity. And let us utilize it for our own good”.

    Away from the promises of Oba Akiolu, writers’ feel that a place within the ambience of Ikorodu Epe will be more conducive for authors to operate. The Ikorodu Epe axis of Lagos is not just expansive, cozy and unpolluted, it is easier to access the roads from any part of Nigeria. Besides, these two areas of Lagos have beautiful topographies and landscapes that can be explored for the benefit of a writers’ village. So, as the wait continues, writers keep hoping that a convenient place be provided in one of these areas for the project to take off.

    What matters most is that Oba Akiolu and his Chiefs are in conformity with ANA and that the project is a welcome idea, one that is possible to have in Lagos State. It is all kudos however to the leadership of ANA in Lagos led by Bosun Taofeek and his team. As the plans keep nurturing, it is clear also that ANA here in Lagos is moving ahead with other laudable and commendable programme and projects that will put the Association far ahead of other chapters in Nigeria.