The Nation Newspaper

Category: Arts & Life

  • Sandra Amachree joins Serena Williams, David Droga at Cannes

    Sandra Amachree joins Serena Williams, David Droga at Cannes

    Sandra Amachree, a Nigerian marketing leader will be joining other global icons at this year’s Cannes Lions International Festival of Creativity holding in Cannes, France.

    This year’s lineup features a roster of internationally recognised names, including tennis legend and entrepreneur Serena Williams, Apple’s Vice President of Marketing Communications Tor Myhren, music and fashion innovator Pharrell Williams, advertising icon Sir John Hegarty, acclaimed director Ava DuVernay, writer-producer Shonda Rhimes, and David Droga, CEO of Accenture Song.

    Amachree’s inclusion reflects more than individual recognition—it marks a broader acknowledgement of Africa’s growing impact on global creativity.

    The event has long served as a barometer for global creative direction, with its annual announcement of jury members and speakers drawing attention to the world’s most influential and forward-thinking minds in branding, media, and culture.

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    Currently the Head of Marketing Communications at HEINEKEN Nigeria, Amachree has spent over 16 years shaping brand narratives across African and European markets. Her work bridges strategy and storytelling, leveraging cultural intelligence to build emotionally resonant campaigns and foster deep consumer connections.

    Prior to her current role, she served as Global Lead for HEINEKEN’s eB2B platform, eazle. There, she didn’t just launch the brand’s first global campaign — she redefined how digital platforms can blend precision with emotion, forging a path for global brands to connect with diverse audiences in ways that are as meaningful as they are measurable.

    A rare duality defines her approach as she combines analytical rigour with creative intuition, developing systems that drive brand growth while telling captivating stories. This balance has earned her recognition and accolades within HEINEKEN, including the Connected Teams Award for leading the creation of Africa’s first regional media hub and spearheading the company’s first-ever marketing mix modelling initiative on the continent.

    Amachree’s work is not just about metrics and award-winning campaigns; it’s about shaping the future of brands and marketing in Africa. She is a pioneer in navigating the complexities of African markets, where she has mastered the art of translating global concepts into locally relevant, culturally intelligent strategies that resonate across the continent’s diverse landscapes.

    As Amachree prepares to join this prestigious lineup of global creative leaders, her presence signals not only the future of marketing but also the unrelenting power of African culture in shaping global narratives.

  • Kehinde Ajose tackles ‘Broke Fame’ epidemic in new book

    Kehinde Ajose tackles ‘Broke Fame’ epidemic in new book

    Nigerian visibility strategist and media entrepreneur, Kehinde Ajose has raised the alarm on what he calls the “broke fame epidemic” — a trend where creators and entrepreneurs are popular online but struggle financially.

    In his new eBook, Media Money, Ajose addresses this issue head-on, offering practical strategies to help creators turn visibility into sustainable income. “A lot of people have clout, but no cash flow,” Ajose says. “You see them trending, but they’re broke, burnt out, and bitter. Media Money is my response to that struggle.”

    Ajose, who has worked with some of Nigeria’s top personalities, is challenging creators to move from applause to income. “You can have 100,000 followers and still borrow ₦1,000,” he warns. “It’s not just about going viral — it’s about structuring your influence into something profitable.”

    The book offers what Ajose calls “bankable strategies” — from creating products to positioning for brand partnerships. It includes insights from his interviews with stars like Bimbo Ademoye and Lateef Adedimeji, who have turned visibility into value.

    Clare Ezeakacha, founder of Clare Cares Foundation, said: “Media Money illuminated my mind and helped me gain clarity around brand visibility and monetisation.”

    Ajose also critiques the culture of clout-chasing without a financial plan. “What’s the point of 50k likes if it doesn’t feed your bank account or fuel your vision?” he asks.

    Reviewed and referenced in top national news platforms, the book is quickly becoming a must-read among creators.

    “This book is a movement,” Ajose said. “You can be paid and popular, not just famous and frustrated.”

  • FPL media sets pace, wins OOH company of the year awards

    FPL media sets pace, wins OOH company of the year awards

    FPL Media, one of Nigeria’s fastest-rising Out-of-Home (OOH) advertising agencies, has been named OOH Company of the Year at the prestigious Industry Awards held on May 3rd, 2025, at the Civic Centre, Victoria Island, Lagos. 

    This monumental recognition comes on the heels of the Industry Summit hosted on May 2nd at CIBN House, Victoria Island, with Lampe Omoyele, CEO of Nitro 121, delivering a stirring keynote on the evolution of the marketing landscape.

    According to the award organisers, the honour is reserved for agencies that “demonstrate creativity, innovation and effectiveness in their campaigns and offerings.” FPL Media, they noted, “embodies the spirit of this award,” adding that “FPL has become a leading OOH advertising agency known for its innovation and impactful advertising solutions.”

    With a reputation built on technological innovation, data-driven strategies, and powerful visual storytelling, FPL Media has emerged as one of West Africa’s most tech-forward advertising agencies. From Lagos to Abuja and Port Harcourt, the agency’s innovative OOH network is redefining how brands connect with consumers in real time, merging cutting-edge display systems with precision location targeting.

    This latest award adds to a growing shelf of accolades for FPL Media. Just last year, the agency clinched OOH Agency of the Year at the Marketing Edge Awards, solidifying its status as an industry leader. That recognition, combined with this year’s triumph, positions FPL as the go-to agency for brands looking to make bold, high-impact statements in the outdoor space.

    “This award validates everything we’ve worked hard for,” said Lanre Ashaolu, CEO of FPL Media. “At FPL, we don’t just sell space—we create brand experiences that live, breathe, and connect. Innovation is not just a buzzword for us; it’s the core of who we are and how we operate.”

    FPL’s success has been driven by a commitment to integrating smart technology into every aspect of its operations—from programmatic DOOH buying to dynamic content delivery and analytics that empower clients to measure ROI in real-time. 

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    Its innovative approach has attracted major multinationals and blue-chip companies eager to tap into Nigeria’s growing consumer market through next-generation OOH platforms.

    As the advertising industry continues to pivot toward digital, measurable, and immersive brand interactions, FPL Media is leading the charge, shaping the future of outdoor advertising in Nigeria and across the West African

    With this landmark achievement, FPL Media not only raises the bar for what’s possible in OOH advertising but also sets a bold example for others to follow.

  • Odyssey of man of letters

    Odyssey of man of letters

    Author: Joshua Sunday Olagunju

    Book title: My Life Odyssey: An autobiography of Pastor Joshua Sunday Olagunju

    Year of Publication: 2025

    Publishers: SABIC Publishers, Ibadan Reviewer: Prof Emmanuel O. Ojo

    This 484-page and twenty chapter book by Pastor Joshua Sunday Olagunju – a one-time Managing Director of the rested Sketch Newspapers – is a latest addition to the growing literature on both autobiography and biographies of eminent personalities in our society. According to the author in his words the book is “an epic account of struggles, setbacks, renewed hopes, and a triumph”. Putting one’s life journey from cradle to its twilight on record, no doubt, is greatly beneficial to both the author who may like to be immortalised and the younger generation who may be privileged to read the story and learn few things in their life course. According to The Penguin Dictionary of Proverbs, (1984:268) ‘writing destroys the memory’. More so that there is a limit to human memory if not committed to writing in black and white.

    Like many who were born into a stark illiterate family, the exact date of the author’s birth was not known! His date of birth became mere matter of conjecture as there was no record of birth in the family, neither did they go to the birth registry to register his birth and collect birth certificate. Not until his brother one Dele, the first son of his father told him that by the time their father gave up the ghost in 1960, that he was between 13 and 14 years old. He was also between 7 and 8 years old in 1955 when the author entered St. Paul’s Primary School, EfonAlaaye on February 17, 1955. From his account he was born into a polygamous family – of three wives, of which his mother Rachael Oluwafumilayo, nee Folayan – was the third wife of his father while Sunday was the first child from his own mother.

    From the first chapter of the book which he titled “My Childhood Years”, the author benefitted from the free Universal Basic Education of the late Sage – Chief Obafemi Awolowo- the Premier of the defunct Western Region. In the early hours of February 17, 1955 his mother had woken him up early enough to get ready for school. It was at Efon Alaaye, in present day Ekiti State. Young Sunday was a brilliant chap passing exams in flying colours to the admiration of his teachers and consternation of his class mates.

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    The second chapter entitled ‘Parenthood’, Sunday’s father was a traditional ‘Adamo’ musician who was famous for it with his dexterity which attracted accolades and fame to him from his admirers. His father did not lived long with Sunday by the time his son started school in 1955 and 1960 when his Dad gave up the ghost. Life expectancy was very low then. The sudden demise of his father made the responsibility of taking good care of the author to fall solely on his mother who had no dime with her as at the time of her husband’s demise after a protracted sickness. He thus began a journey of life of poverty and penury that only a divine intervention could bail him out from this predicament.

    The death of his benefactors and those left behind with low education that could barely eke a living, threw young Sunday into a bleakly future. Vicissitudes of life made him to begin squatting from one relation to the other, while some were tolerant for a short while some could not accommodate him with his financial liabilities as a complete dependent person. On completion of his Secondary Modern School, which was in vogue then, he found himself in a quagmire, especially as regards what next for him to do. He became perplexed and seemed totally hopeless as a young man. In the process, he found himself at Osogbo, present day capital of Osun State as an apprentice Radio repairer.

    Not long, he found himself in Lagos too as an apprentice tailor. His Lagos experience was fascinating as he was moving away from his cocoon to a cosmopolitan city for the first time in his life. His high expectation was not a misnomer as his movements ever since his birth was restricted to few towns of Efon, Aramoko, Ilesha and Osogbo. It was in Lagos while working as a professional tailor, that by happenstance and divine providence that this author got a salary job for the first time in his life with Palm Line Agency of Nigeria, Apapa, Lagos.

    Despite being paid monthly salary, the author did not relent in his innate desire for Western Education which he believed could liberate him from poverty. As a private candidate he registered for two ‘A’ level papers – Economics and Government – at the same time he also put in for four ‘O’ level papers too –  English Language, Geography, History and Mathematics – he however passed the two ‘A’level papers and the four ‘O’ level ones. What was amazing to many is the English Language that he crushed. It was the major albatross for many including his superiors at work.

    Furthermore, with his sterling performance in public examinations, God’s fingers did not stop pushing him to great fortunes as he was advised to apply for the Central Bank of Nigeria (CBN) job. He did and was able to pass the interview. Thus, a career in banking commenced in earnest. He was with the CBN between 1976 – 1978. He attempted professional bodies’ examination in Banking which he passed also.

    But all these did not becloud his desire for tertiary education despite his inability to attend Secondary school!

    In July, 1978 fortune smiled on him as he was admitted to the University of Lagos to read History. He was faced with making difficult decisions of whether to continue with the prestigious CBN job or proceeds to the University. Eventually, reason prevailed as he registered as an undergraduate despite all hiccups. He waved away all entreaties from his bosses and colleagues at the bank to stay put, but he resigned his appointment in August 1978 for higher education.

    Few events cannot escape this review from his experience in the University as a student. First was the smart way he was schemed out of the race of becoming the Secretary-General of the Student Union. He was shown real ‘politik’ that eventually tainted his perception and world view of politics in the larger society. Another is the cat and mouse relationship amongst lecturers in his department; which dissuaded him from taking up interest in scholarship. He however learnt later from his work place experiences most especially in The Daily Times where he worked for more than a decade before he was frustrated out and the rested Daily Sketch too. Perhaps, a bad one was the personal animosity with one Prof Asiwaju who was however later found out to have plagiarized Sunday’s seminar paper  verbatim in a book he (the Professor) published later. This no doubt was and still a very serious offence and demeaning of a Professor in the academics. But unfortunately, plagiarism has become almost an accepted norm in our tertiary institutions. Originality has been thrown to the board (see p. 182 for the story).

  • Tracking Osimhen’s journey to stardom

    Tracking Osimhen’s journey to stardom

    For the author, Busayo Omidiora is “amazing” and his life’s journey’s worth scripting.  To show his conviction, the writer is out with a book on his heroes, entitled: “Amazing Victor Osimhen: From Struggles to Stardom”.

    The book is not just a footballing tale; it is a gripping odyssey of resilience, ambition, and an unyielding spirit that refuses to be crushed by adversity. 

    With lyrical prose and piercing insight, Omidiora paints a portrait of a man whose meteoric ascent—from Lille’s breakout star to Napoli’s record-breaking capocannoniere—is as much about talent as it is about tenacity.

     This book is more than a biography; it is a beacon of hope for every African youth clutching a dream in their hands, whispering, “If he could, why not me?”

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    From the outset, Victor Osimhen’s journey reads like a script torn from the pages of a Dickensian novel—fraught with hardship, yet illuminated by an indomitable will. Growing up in the labyrinthine slums of Lagos, where poverty gnawed at dreams like a relentless predator, young Victor faced a world that seemed determined to keep him grounded. Yet, like a phoenix rising from ashes, he defied the odds, turning every setback into a stepping stone. His early days in Europe, marked by uncertainty and near-collapse, could have been the tragic end of his story. Instead, they became the crucible in which Omidiora masterfully chronicles the striker’s extraordinary trajectory—from the pitches of Lagos to the hallowed turf of Serie A. Like a finely crafted bildungsroman, the book captures Osimhen’s evolution: a raw, hungry talent refined into a clinical finisher whose name sends shivers down defenders’ spines. 

    Indeed, his story is one of contrasts: where despair and triumph wage a relentless tug-of-war. After losing his mother early and shouldering the weight of familial expectations, Osimhen’s move to Europe could have been his undoing. A loan spell at Wolfsburg threatened to derail his career before it truly began. Yet, like a protagonist in an epic saga, he clawed his way back, first at Charleroi, then at Lille, where his predatory instincts announced him to the world. 

    By the time he landed at Napoli, Osimhen was no longer just a footballer, he was a force of nature. His record-breaking season, crowned with the Scudetto and the Capocannoniere title, was not merely a personal triumph but a historic moment for African football.

    Omidiora’s narrative is as much about the man as it is about the myth. With vivid imagery and poignant reflection, he reminds us that Osimhen’s journey is a confirmation of the potency of the power of dreams. For every young African gazing at the stars from the depths of hardship, this book is a clarion call: greatness is not inherited—it is seized. 

    “Amazing Victor Osimhen: From Struggle to Stardom” is more than a football story but a manifesto of hope – it’s a must-read for dreamers, fighters, and believers.

  • Reading, performances excite at NCC

    Reading, performances excite at NCC

    Readings and performances excite guests at a book and copyright event held at the Lagos Office of Nigerian Copyright Commission (NCC).

    With the  theme being “Read Your Way”, the event also featured; statement of the Director-General of the Commission, Dr John Asein, goodwill messages from stakeholders, lecture, spokenword poetry, book reading in English and traditional languages, poetry  from selected secondary school students in Lagos State; and book donations.

    The celebration, which was in commemoration of the 2025 World Book and Copyright Day,  commenced with a welcome address by the Director of Lagos Office of NCC, Mrs. Lynda Alphaeus, informing the participants of the importance of the. She also stood in for the Director-General of the Commission and delivered his statement to mark the occasion.

    The Director-General of the Commission, Dr John Asein disclosed that: “In commemoration of this year’s celebration, the NCC will continue to reaffirm its commitment to champion and promote models that will make more books available in accessible and readable formats, enhance and promote reading among young readers and develop policies and strategies to promote copyright awareness and respect for authors and copyright works.”

    He stated further that: “Through deepened synergy with Commission’s stakeholders in the renewed fight against piracy, Rights will be better protected and Authors encouraged to create more readable materials, readily available to a greater population of people and in accessible formats for persons living with disabilities, especially blind and visually impaired persons.”

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    The celebration, which was anchored by Deputy Director/Head, Operations, Lagos Office, Mr. Charles Amudipe, featuredperformances from students of Christ Dominion Imperial School. And the first performance of the day was rendered by Muiz Shodeinde. He read a poem titled “Eko” in Yoruba language. His performance was followed by another exciting poetry reading by Uzomba Success, who read a poem titled “Izunna Okafor” in Igbo language.

    There was also a poetry rendition by Ezeasor Anita Ijeoma, a teenager who has written over 40 poems. Other performances included; book readings from Sharon, who wrote her first book when she was five years old. She read from her book titled “Freedom”.

    Students of Christ Dominion Imperial School also captivated the audience with different versions of book readings. Temitope Princess read from a book written in Yoruba language titled “Ika Abamo” by Okedokun Ayoade. Christian Treasure read passages from a story book written in Igbo language titled “Odoziaku”.

    There were also goodwill messages from General Manager, Metropolitan Publishers, Mr Banjoko Samuel and representative of Tonad Publishers, Mr Kayode Adediran.

    The event concluded with a presentation by Mrs Lynda Alphaeus on copyright: its definition, provisions of the Copyright Act, 2022 and the mandate of the commission. She called on the public to be aware of copyright, to create copyright works and to respect copyright.

    The World Book and Copyright Day, usually marked on April 23 of every year, is a day set aside by the United Nations Educational, Scientific and Cultural Organization (UNESCO) to focus on the importance of books, promote reading and raise awareness on the role of copyright in promoting and protecting the rights of authors.

  • A peep into Olanipekun art

    A peep into Olanipekun art

    By Prof Chuu Krydz Ikwuemesi

    If I begin by saying that Gbolahan Olanipekun is a self-taught artist, I would stir the controversy often surrounding that term. Is any artist self-taught? Or should we take the middle course offered by “formally” and “non-formally” trained artist? But the exciting reality about Olanipekun is that he did not study art in the university. At Ekiti State University where he attended between 2011 and 2017, he majored in Accounting Education. His artistry can be said to derive from the biological essence of art, as argued by Ellen Dissanayake. However, if art as a biological prior is a common quality of the human species, not many who are not formally trained in art are able to invoke, harness and exploit that quality on a sustained scale. 

    The present exhibition is thus a testament to Olanipekun’s creative industry and artistic adventure. Using photography and digital darkroom as his principal media, he has developed a way of making profound graphic statements with everyday unprofound objects and forms. A look at some of the works in the present collection vividly betrays his compositional skills and his capacity to use his forms to generate eclectic meanings that reflect aspects of living and society.

    It seems that many of Olanipekun’s works derive their form and content form a deep-seated interest in culture, heritage and identity. His Echoes of the Drum, for instance, evokes memories of tradition where the drum remains a medium of communication as well as a notable musical instrument across different world cultures. Another work, Natures Flow, captures, through a kaleidoscopic female figure, the nobility of the female human body and the beauty of nature. This interest in the noble nude is further explored in Midnight Muse and Undiluted Love where the body is celebrated, not just for its own sake, but as a tableau on which multifarious issues about culture, marriage and other subjects could be addressed. Also, with regard to the aesthetic power and value of nature, we are confronted with The Optimist, not only as an allusion to human and natural resources and the potentials they usually hold for economic advancement, but also as evocation of hope through the calm waters and sublime sky scape.

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    Away from the above group, Heritage Unveiled and Fierce Woman evoke a variety of meaning. Apart from issues in identity, they also hint at femininity (or is it feminism, especially as regards Fierce Woman?) and the undeniable import of the female essence in the scheme of existence. Not only that. Olanipekun also envisions those pieces as odes “to the women who have fought for change and continue to inspire others” in our society.

    Another work, Redemption, captures the eternal struggle of the human person in the trajectory of life often peopled with ups and downs, hopes and impediments. Between the binary experience, the space in between is also alluded to, the place where courage and desire can dismantle despondency and cause a triumph of the human spirit. This work’s relevance to contemporary Nigeria cannot be overlooked as the country has become a battle ground for hope and despair, the have and the have-not, a battle fueled and sustained by bread-and-butter leaders (or dealers?) in order to perpetuate their hold on power and the attendant strangulating grip on the population. This work seems to be complemented by Oju Aye (The Eye of the World) which references the constancy of truth, the dynamics of power and the unseen divine forces that sustain the universe and its eternal essences.

    The above works and others easily image the artist as a deep thinker and one able to give form and meaning to his dreams, thought and imagination through this media, his materials and the resulting materiality. He is not a miserable hand-to-mouth artist, but one who is imbued with an immense vision and the ability to share that vision with his audience through the endless possibilities in photography.

  • At 60, Balogun dines with motherless

    At 60, Balogun dines with motherless

    At a memorable time when most people would have rolled out the big drums in grand celebration of their diamond birthday anniversary, Dr Olusola Kayode Balogun, former Arts Editor of Daily Sun newspaper and now Senior Lecturer Federal University, Oye Ekiti chose to do the ‘unthinkable’. He ignored the red carpet to rejoice with the motherless babies. Balogun who shunned a grandiose celebration of his natal- free day last April 19 marked his 60th birthday on a modest note at the Peace of Life Orphanage, Aiyetobi Alagbado area of Lagos. 

    The brief but eventful ceremony saw members of his immediate family, friends, relations and workers at the orphanage in attendance. Hosted by Evangelist Sarah Adenike Dosunmu, founder of the orphanage, the ceremony witnessed prayers, exhortation, singing and dancing with the motherless babies and orphans. The high point of the ceremony was the presentation of gifts, food items and souvenirs to the orphans by the celebrant.

    Explaining his choice of location for the ceremony, Balogun who expressed gratitude to his creator for sparing his life said he received a divine message to celebrate with the needy such as motherless babies and orphans. He described his life of six decades as one that is full of grace and special favour from God, noting ‘I appreciate God for giving me life till this moment, despite all the challenges and obstacles I have encountered’.

    Balogun, who referred to himself as a product of God’s mercy noted that he had earlier planned to celebrate his birthday anniversary with the presentation of his two newly published plays; Okemesi and the Jealous Gods and Beyond the Chains, but that upon receiving the divine message from his maker, he resorted to celebrating with the motherless babies and the needy.

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    Evangelist Dosunmu commended Dr Balogun for choosing a unique location like the orphanage to rejoice with children and adolescents who do not have biological parents to cater for them. She described this decision by the celebrant as a worthy and Godly one, even as she urged other Nigerians to emulate Dr Balogun ‘who have chosen to identify with the needy on a day, which can be easily turned to a platform for merry making and collection of gifts from friends, relations and colleagues’.

    The ceremony, which featured special prayer session by the children in favour of the celebrant was graced by Dr Balogun’s wife; Deaconess Elizabeth Balogun and his four children; Barrister Bolaji Balogun, Miss Atinuke Balogun, Mr Ololade Balogun and Miss Abisola Balogun.

    Born at Iwo Osun State on April 19, 1965, Balogun attended Methodist School, Oke Agogo Igboora, Kuta Community High School, Kuta and Olivet Baptist High School, Oyo for his secondary education. He studied Theatre Arts at the University of Ibadan where he obtained his B. A (Hons), M.A and Ph.D degrees. Balogun also worked at The Guardian, Daily Independent and Daily Sun where he served as founding Arts Editor. He was trained as Arts and Culture journalist at the Goethe Institut, Berlin, Germany and UNESCO Headquarters, Paris, France. Balogun also served as President, Arts and Culture Writers Association of Nigeria (2010-2014) and Chairman, Association of Nigerian Authors (ANA) Ekiti State chapter between 2020 and 2023.

  • Trino, NIFS inaugurate ISDE, induct 12 creatives

    Trino, NIFS inaugurate ISDE, induct 12 creatives

    No fewer than twelve creatives were inducted at the weekend in Lagos by Trino Motion Pictures and the Nigerian International Film Summit (NIFS) at the maiden edition of the International Sales and Distribution Executives (ISDE) programme. The initiative is to address a critical gap in the entertainment industry.

    The cohorts are Adetayo Adebowale, Dr Sherif Adekunle, Ehinomen Azeta, Uneke Ekene, Faustina Okomayin, Lucy Adikwu, Mercy Akumute, Nneamaka Nwadei, Olatubosun Olasimbo, Precious lroagalachi, Daleshawn Butler and Temitope Sanni.

    The programme was also designed to equip professionals with expertise in international sales, aggregation, licensing, and distribution.

    At the core of the initiative is addressing a pressing need in the creative industry, where talented individuals produce high-quality content but often lack the knowledge and skills to effectively market and monetise their work globally.

    Managing Director of Trino Motion Pictures, Uche Okocha said that the training programme was conceived after the company’s two-year experience attempting to handle sales and distribution roles.

    He noted that a gap was encountered, which was a lack of structured pipelines for professionals and inadequate training facilities.

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    This realisation, he said, prompted the development of the programme.

    Highlighting the importance of identifying potential, building capacity, and creating opportunities to build a sustainable film industry, he disclosed that the training would feature both virtual and physical classes and would run for six months.

    “So the ISDE programme will have 12 finalists trained on the nitty-gritty of international sales and distribution for all formats: scripted, unscripted, TV formats, documentaries, films and all.

    “This will be for six months and will feature international executives as resources persons that have been in the sales and distribution space for at least over 15 years. We are going to try and have a mix of the French territories, some of France, the UK, and Nigeria.

    “The real goal is to train the next generation of professionals that can sell our content to a global audience, which is very important because we found that there are no training platforms for such.

    We hope to have this as an annual programme going forward and maybe expand it to 24 participants so that we can keep supporting the industry and the personnel that we require in that space of sales and distribution to keep growing.

    “They will have the opportunity to visit local film markets, festivals, and international festivals in the course of the training,” he added.

     Founder of the Nigerian Film International Summit (NIFS), Ms Ijeoma Onah stressed the need to create a balance between the business side of film and the creative side.

    Onah said that upon the completion of the programme, the participants would go on an internship programme with international organisations.

    “People need to understand that film is a product, and if the right knowledge is in place, then we can begin to see sustainable businesses birthed, she said.

    She charged the cohorts to understand that it is time to step out and build their own network as well as elevate their career.

    “A lot have been invested in this programme we demand a lot of concentration and focus from you,” she added.

    Executive Director, National Film and Video Censors Board (NFVCB), Dr Shaibu Husseini,

    highlighted the importance of capacity building in developing a robust entertainment industry.

    He tasked the creatives on the application procedure to procure the Federal Government’s Creative Economy Development Fund (CEDF), which would only warrant a creative’s intellectual property (IP) as collateral.

    He urged them to apply for the fund, which would aid their operations in the industry.

    Programme Director for ISDE programme, Godwin Nzekwe stated that today marked the beginning of a bold and timely vision to prepare, equip, and position African creatives for the global stage through international storytelling, business strategy, and meaningful industry collaboration.

    “The ISDE programme is not just a training. It is a launchpad for cross-cultural exchange, market access, and real transformation in our film and television space.

    “Over the coming months, our participants will engage with global mentors, gain deep industry knowledge, attend major international markets, and complete a six-month internship with top-tier distribution companies,” he said.

  • Gallery partners Goethe, MOWAA to restore national collection

    Gallery partners Goethe, MOWAA to restore national collection

    As part of its strategic reforms to reposition Nigerian contemporary art, the National Gallery of Art (NGA) has launched series of reforms directed at the restoration and digitisation of the National Art Collection that has been in a poor state for decades.

    Speaking during an interaction with Art Writers in Lagos, the Director-General, (NGA), Mr Ahmed Sodangi, disclosed that the initiative involves partnership between Goethe Institut, Museum of West African Arts, (MOWAA) and Julius Berger to restore and digitize national collection. Already, Julius Berger has donated a 40ft sound-proof container for storage of some of works

    “Goethe Institut, MOWAA and Julius Berger have agreed to partner us to help digitise our collection so that we can have a digital archive of the national collection. We are taking on-the-spot assessment of the artworks giving them condition assessment and documenting them in a digital form.

    “And these artworks have been lying around for a long time and there is need for their restoration. This is also what has sparked the partnership with (MOWAA), Museum of the West African Arts, which they have also graciously partnered the National Gallery to do some conservation works on the National Collection.

    Sodangi maintained that due to the absence of a national gallery building, the National Collection is currently stored in various locations across the country in poor conditions. “These artworks are meant to be displayed, and are meant to be seen by the general public,” he said.

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    He stated that beyond the restoration of national collection, the ongoing reforms in NGA are focused on four pillars, which includes a review of the gallery’s enabling Act and internal restructuring, which involves rebranding the institution. Other area is implementing the National Art Renaissance Programme, aimed at cataloguing and digitally preserving artworks worth billions of Naira. Sodangi stressed the need for human capacity building, noting that NGA personnel, as custodians of the National Collection, require regular training to stay aligned with global best practices. “The Ministry of Arts, Culture, Tourism, and the Creative Economy is more or less a new ministry, but the creative industry and creative economy have been blossoming,” he said.

    “It has had so much success, with very little interaction with the government. So, as a government, we have to look at ourselves, and see how we can come up and not take control. But see how we can partner the private sector, and the creatives that have built this undeniable industry to where it is today.”

    Director Goethe-Institut, Nigeria Dr Nadine Siegert who expressed delight at the partnership, underscored the significance of the collection, which she said, contains hundreds of masterpieces that deserve global visibility. “I think we have already inventoried about 900 or so works. We have photographed about, I think, 400 works,” she said.

    According to her, two artworks are currently undergoing professional restoration and would be ready for exhibition locally and internationally in July.

    She recalled that when she was at the National Theatre in 2018, she fell in love with the collection, because “I was working on it as an art historian, and the collection was precious. I am sure there’s not only one masterpiece in this collection. I think there are hundreds of masterpieces in this collection that the world needs to see. And as an Institut, we are very happy and proud to be part of that, to make this collection more visible to not only the art historians and the academia, but all the theatre lovers and art lovers in the world,” she added.

    Associate Conservator at MOWAA, Yetunde Odediran said it is an exciting opportunity for MOWAA to come on this collaboration as technical partners for conservation and restoration. This, she said, will enable them to share the conservation expertise and knowledge that they have, use it to make the works more accessible to the general public in Nigeria and across West Africa.

    “A lot of people have not seen the collection. This generation has probably not seen some of these works that have been in storage. They are now coming to light by digitisation, inventory and they were put up for exhibition. So, our main focus is to ensure that these works are stabilised and also brought up to the level that they’re able to be exhibited and displayed. Another thing that’s key for us is to share our knowledge and training. So in the course of the collaboration, we’ve been able to work with NGA staff as well as equipping staff in understanding what it takes to handle artworks,” she added.