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Category: Arts & Life

  • When wandering Book of Everything berths

    When wandering Book of Everything berths

    Title: The Book of Everything

    Author:  Maik Nwosu

    Publishers:  Crossroads, New York

    Year of Publication: 2025

    Reviewer: Edozie Udeze

    It is the title of the book that first sets your curiosity on fire.  This is The Book of Everything.  And indeed it is the book of everything and told very systematically and profoundly by a gifted and brilliant story-teller in the person of Maik Nwosu.  It is the story of a Western trained medical doctor who disappeared from his home for forty-four years, four months and four days.  Then he reappeared in far away South Africa.  No one knew where he disappeared to.  No one was able to trace or locate his corpse or trace the route he followed to his new destination.  Was he dead? Who aided his disappearance? What was his motive?.

    It was a mystery that is yet to be unraveled.  His name is Ileka or Ile Ka, a symbolic name in his native Igbo dialect, where names are given according to circumstances or position of the family or the people themselves.  Born into a family that is meant to produce priests for the local deity, Ileka, Ile Ka, opted to be a medical doctor, a choice he made to be able also to help people and effect changes in the society.

    But even as a medical doctor the pull to resort to those native norms and approach to the things of the world still had an upper hand in his life.  The gods never let him be.  The deity had a strong pull on him.  Now told by his grandson called Ile, the story harps on this mystery.  As the narrator, Ile, a Professor of English and a Nigerian – American scholar, takes readers through the labyrinths of different countries, locations and so on, where this story took place.  It is a story that traverses South Africa, India, Ethiopia, Nigeria, America, England, Bangladesh and more, where this mysterious man called Ile Ka touched lives in some ways.

    Dr Ile Ka had a prosperous medical practice at Fegge, where he used his privileged position to help a lot of people.  This was after he came back from England where he studied medicine.  Beyond what he decided to offer to people almost free of charge, he also established a centre called King Lazarus.  This served more or less like an NGO through which he offered several and unsolicited assistance to people.

    He did this for a while, as people began to flock in to seek for his help.  But soon enough something snapped in him.  At the sudden loss of his lovely wife, Ile Ka became a sad and confused man.  His work no longer intrigued or interested him.  He wanted to explore the world.  Now after he had bought himself a new atlas, his wandering spirit was reawaken.  From that moment, his bearing changed. His attitude to the hospital, to King Lazarus, to his family also changed.  The narrator puts it clearly in a conversation with his wife Ella.  On page 98, a conversation with the narrator Ile with his wife Ella repeating an earlier dialogue with Uncle Ibe states clearly how this mysterious grandfather chose to disappear from his people into an unknown world.

    “A man walked on the moon” he said with limitless amazement.  “A man walked on the moon”.  “A man walked on the moon”, he repeated.  “We all feared he was going mad.  He was dazed by the news that we were unsure what he wanted to do next.  Father wasn’t the sort of person who did nothing”.  Ibe told his nephew, Ile, the narrator.

    It is through this dialogue and more that the reason for his disappearance could be made a bit clearer.  It goes on: “What did he do?”.  “That’s the thing.  He didn’t do anything.  He did buy a new atlas though, a bigger atlas than the one he used to decide to go to London…”  And so a man walked on the moon in 1969 and in 1974, Dr Ile Ka left home in Nigeria in search of more knowledge, more mysteries and more discoveries about the earth and its people.

    But what triggered The Book of Everything was a call Ile got from Willem Kirk of Kirk and Klaus in Stellenbosch, South Africa.  Suddenly Willem’s call to Ile was to refer to his grandfather’s will.  A man that died forty-four years previously and was declared dead and buried in his homestead in the village cannot be said to be alive again.  “I am calling from Stellenbosch, South Africa on behalf of your grandfather, Mr. Ile Ka.  I’ve been trying to reach you for some time now.  It’s extremely important that you call me back at this number as soon as possible”.  And so Ile became edgy all of a sudden.

    So with this strange call, Ile, the narrator suddenly became agitated, apprehensive and curious all at the same time.  Now, how do you resolve the issue of someone who died before you were born, a grandfather that did not even know you.  And you never met him either.  Set in parts, Ile used the dynamism, brilliance and lyricism of a visionary story-teller to lead people into the depth of this strange medical doctor who chose to be a wanderer for the sake of humanity.  It all shows the overwhelming influence of that spirit of their native deity, the ancestors, that imbued strangeness in all members of the clan.

    In part one, the narrator situates his own place as a Nigerian-American student, trying to acquire degrees  in English.  His encounters with other people and the rigours and fun involved in being a foreign student, the lifestyles of most Nigerians in Houston, Texas, all woven together to produce a close-knit story that gives the book its peculiar aura.

    No doubt, Nwosu is a sound journalist, a story-teller born into it, who won awards as a writer before veering into the academia.  In part one, Ile met his wife Ella, also a Nigerian born in America who was studying for a doctoral degree in music.  Together the two and their friends form the nucleus of what made this part amazing enough to set the ball rolling for their sudden return to Nigeria.

    In part two, the novelist takes readers through the journey of Ella and Ile back to Nigeria to unravel more clearly the story behind grandfather Ile Ka who was both a priest and a medical doctor.  Ile recalled his friendship with Nathan and other naughty things they did together back in school.  He headed home to the village to meet Uncle Ibe and Aunt Rosette to resolve this issue to help him in his sojourn to South Africa.  It is here that the family tore through the history and person of Ile Ka, the Monk, the priest, the medical doctor, the King Lazarus founder and above all, a born wanderer of the world.

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    With hindsight, typical of a brilliant raconteur, Nwosu said “But I think father was born a wanderer and the beatings he received from his father could not still his wandering spirit”.  This was Uncle Ibe stating the nature of his father and why he eventually eloped into a new life, a new world and a new adventure.  A rainmaker also, Dr Ile Ka carried this over to his next world where he perfected it to save lives and restore hope.

    Having learnt the many odysseys of his grandfather hence, the narrator equally raised some sensitive issues about the incursion of modern wave Christianity into the village.  The clash between the native people who were opposed to Christianity and firebrand pastors, gives the story a dynamism suitable for readers.  Now set to go to South Africa to unravel the mystery, the book says on page 22, “my visit to Nigeria had been quite revealing.  I hoped I would find more answers in South Africa”. And so the scene, the attention of The Book of Everything now moved to South Africa.

    In part three, Ile was able to pierce a few things together to meet his grandfather through the many relics, artefacts and visual materials he left behind.  He was able to meet more through the people his grandfather encountered, people he impacted on their lives.  And truly Dr Ile Ka moved to different places on the surface of the earth. He was in Ethiopia.  He moved to India.  He equally visited Bangladesh.  He then chose to settle for four years in South Africa where he died.  But Ile was not able to unravel the name Ann Pottinger, one woman that also appeared in his life in a frenzy.

    In South Africa, Dr Ile Ka was known as a Monk, a kind man, a priest, a humanist.  Among other people he worked with, he was known as Aileek.  So many different character behaviour that truly entrusted in the novel the ubiquitous title – The Book of Everything.  This part is where the novelist made all the suspense clearer in order to resolve the mysteries.  Part four is where he returned back to Houston after a brief stopover in Lagos from South Africa.  Even though he learnt more new things about some Nigerians in Houston who have refused to return home, his encounter with Osita in particular was quite remarkable.

    But the story ended with a heartbreak for Ile.  He was shocked to meet Joel, his trusted friend and his lovely wife, Ella in his matrimonial home, making love.  It is story of plenty of heartaches, trusts, and mistrusts, love and hate, confusion, anger, frustration, ambition.  Yet it is the story of how a good story-teller goes deeper into the ambiance of life to teach, to instruct and to unravel.  Life itself, after all, is a mystery, too complicated for the feeble mind.

  • A City Submerged debuts

    A City Submerged debuts

    A climate change focused play, “A City Submerged”, by prolific writer, Dr Ebidenyefa Nikade, is scheduled for release shortly, The African Culture Club Writers’ Series, Woji, Port Harcourt, has said.

    The group made this known in an emailed statement yesterday made available to The Nation.

    “A City Submerged” is a climate-change flood tale that chronicles the lives of people displaced into an Internally Displaced Persons (IDP) camp after rising waters swallow the riverine community of Oporoba.

    Through the voices of Mama Priya, University-Owei, Benji, and Perezie, the play exposes how environmental disasters evolve into profound political and moral crises, laying bare the state of neglect, bureaucratic cruelty, and the collective survival of the people.

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    Set against the backdrop of recurring devastating floods, the play follows families who have lost their homes, loved ones, and livelihoods, yet are expected to adjust solemnly to their new realities without question, without redress, and without accountability. Within the camp, hunger lives side by side with fear, memory, and the anxious hope for the waters to recede. Survival becomes both a burden and an act of resistance.

    “A City Submerged” interrogates displacement as a natural consequence of climate change as well as a human tragedy worsened by indifference, political inertia, and silence. It is a testimony of endurance, a lament for abandoned citizens, and a call to confront the cost of ignoring those affected by such natural disasters and their attendant issues.

  • Revisiting Christ’s final hours at Golgotha

    Revisiting Christ’s final hours at Golgotha

    Title: The Last Words of the Saviour on the Cross

    Author:          Olusola Adeyegbe

    Publisher: Cowrie Mindworks Limited

    Reviewer:      Raymond Mordi

    Pagination:    82

    Olusola Adeyegbe’s The Last Words of the Saviour on the Cross enters today’s often polarised religious landscape with the quiet assurance of a thinker who has wrestled deeply with faith, doctrine, and the fundamental question at the heart of Christianity: Why was the purpose of Christ’s coming?

    Drawing inspiration from the work, In the Light of Truth: The Grail Message by Abdruschin, Adeyegbe offers neither a theological polemic nor a sentimental devotional. Instead, he presents a reflective and provocatively gentle meditation that encourages readers to reconsider long‑held assumptions about the crucifixion, redemption, and the true mission of Jesus of Nazareth.

    The result is a work that both challenges and enriches—one that may unsettle traditionalists yet offer refreshing clarity to readers seeking a coherent, spiritually grounded understanding of Christ’s message.

    Across its nine chapters, the book advances a striking but straightforward claim: Christ’s mission is centred not on His death but on His teaching: His revelation of the Divine Truth. Christ’s crucifixion, Adeyegbe argues, represents humanity’s tragic rejection of that Truth, not a divinely mandated path to redemption.

    This framing aligns with the Grail Message’s distinction between the Cross of Suffering—the instrument of execution at Golgotha—and the Cross of Redemption, the radiant, equal‑armed Cross symbolising the Eternal Truth.

    Redemption, in this view, does not come from Christ absorbing human guilt or fulfilling a metaphysical transaction. Instead, it arises only when individuals awaken to the Truth He brought and live in obedience to it.

    This interpretation of the mission of the Son of God distances the book from Anselm’s satisfaction theory, the Reformers’ penal substitution, and the patristic “ransom” motifs—traditions the author explores as historically shaped constructs rather than divine revelation.

    Yet Adeyegbe’s critique of these doctrines is without hostility. With calm precision, he traces their evolution. He invites readers to consider whether, over the centuries, theology has drifted from the simplicity of Christ’s call to repentance, obedience, and spiritual renewal.

    One of the book’s strengths is Adeyegbe’s contemplative use of the Scripture. Instead of argument-driven citations, he treats biblical passages as reflective windows that invite inward thought. Throughout the chapters and the extensive Appendix, he builds a steady, cumulative case:

    If Christ’s death were divinely required, why is Judas’ betrayal portrayed as sin rather than obedience? Why would Pilate’s wife receive a warning in a dream? Why would Jesus label His executioners as acting in ignorance? Why would the Commandment “Thou shalt not kill” remain unbroken and uncompromised?

    Why would Christ lament that His word had “no place” in His opponents?

    Taken together, these scenes reinforce a consistent theme: the crucifixion was law‑breaking, not law‑fulfilling; rejection, not redemption; human blindness, not divine necessity.

    The power of the book lies not in dramatic rhetoric but in its meditative pace, inviting readers into a quiet, contemplative engagement with theology.

    Chapter Nine, arguably the book’s most compelling section, distils Christ’s mission into seven themes: rejection, ignored warnings, the conflict between divine law and human sin, obedience to Truth, repentance, cleansing through the Word, and the symbolism of ‘washed robes’. This focus sharpens understanding of the central message and invites deeper reflection.

    Here, Adeyegbe becomes pastoral. He does not dictate doctrine; he invites reflection. For readers familiar with the Grail Message, the focus on personal responsibility and spiritual volition will feel familiar. For newcomers, this chapter may serve as a surprising, fresh doorway into the teachings of Christ.

    The 15 reflections of Appendix 1 feel like a companion volume embedded within the main section of the book. Each reflection revisits a familiar scriptural scene—Herod’s rage, Judas’ betrayal, Pilate’s hesitation, the transfiguration, the prodigal son—and draws a moral or spiritual insight consistent with the book’s central argument: salvation begins with awakening, grows through obedience, and manifests in transformed conduct.

    This Appendix alone could function as a devotional guide for readers seeking depth without dogmatic rigidity.

    Beneath the biblical analysis lies a subtle but powerful critique of traditional doctrines. Adeyegbe echoes themes of the Grail Message in warning against an intellect disconnected from spiritual intuition. Lucifer’s influence, he suggests, manifests not in dramatic rebellion but in humanity’s quiet elevation of the intellect above the spirit, prompting readers to reconsider long-held beliefs.

    Elevating the intellect above the spirit feels remarkably relevant in an age marked by both scepticism and longing. The call to reawaken intuition—and reject the “sloth of avoiding true spiritual responsibility”—is timely and resonant.

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    Stylistically, the prose bridges theological reflection and spiritual literature. Warm, steady, and contemplative, Adeyegbe’s voice is both grounded and mystical. Study questions at the end widen the book’s usefulness, making it suitable for personal retreats, small groups, or church circles willing to entertain fresh perspectives.

    Adeyegbe’s background as a lawyer, teacher, and long‑time student of the Grail Message enriches the work with intellectual rigour and spiritual sincerity. His earlier writings—Make Your Work a Prayer, The R.E.A.L. Shift, Living Your Best Life, and Thinkalittle Premium—demonstrate a consistent commitment to inner transformation.

    In an African context, the book’s willingness to question inherited doctrines while maintaining deep reverence for Christ encourages readers to explore faith with courage and nuance.

    Many readers steeped in traditional theology may struggle with the book’s departure from familiar doctrinal frameworks. Yet even those who disagree will likely appreciate the sincerity, clarity, and contemplative depth of Adeyegbe’s approach.

    The Last Words of the Saviour on the Cross is a courageous and contemplative contribution to contemporary spiritual discourse. It challenges assumptions without undermining faith and reframes the crucifixion not as a cosmic transaction but as a mirror held up to the human soul.

    It is a book for thinkers, seekers, and any reader longing to encounter Christ’s mission through a fresh yet reverent lens.

    In the end, Adeyegbe’s message is simple and stirring: salvation depends on personal choice: living according to the Truth, embracing love, and aligning with God’s Will.

    A timely, thoughtful, and transformative work.

  • Itan bounces back on stage

    Itan bounces back on stage

    On stage on 26th December, Itan, the story, written and produced by Ayo Jaiyesimi of the Thespian Family Theatre, made the audience relax in an atmosphere full of total theatre entertainment.  Full of musical renditions, dances and dramas, with stories to spice it, Itan, an award-winning stage drama thrilled to no end.  Edozie Udeze reports on the reason the play is still relevant after ten years on stage and more.  The show happened at Muson Centre, Lagos.

    Itan is not just a story.  It is not only a story, any story at all.  It is a total theatre, a compendium of what a stage drama, musical and entertainment is all about.  Itan is scripted to take the world, lovers of theatre, a whole gamut of theatre buffs, indeed all thespians down memory lane.  Written by Ayo Jaiyesimi, an accountant turned theatre buff, the story went on stage throughout the Yuletide season.  It took place at the Muson Centre, Onikan, Lagos where the crowd was eager, keen and mammoth.

    Full of the stories of old, young, ancient and modern, the playwright was deliberate and intentional in the way she wrote the story.  On stage, Itan displayed the meeting together of the life styles of the old where also the young have refused to fit in.  It is an epitome of the crises of a society where moral decadence has swept and permeated through the cadres of the commonality of the people.

    But it is a story where the young in a way to show that their parents are no longer valuable and relevant decide to tow their own way.  On stage, Jaiyesimi invented the approach that is peculiar.  Her style gives room for total entertainment to become the medium to convey the importance of the message embedded in Itan.  And so, it has become a resounding story.

    She uses music, old and new.  She uses dance, ancient and modern to hold the audience spellbound.  She invents drama.  Her approach is what thespians call total theatre.  For many years Itan has been a delight to theatre lovers.  For in it, you sit for over two hours to savour the total beauty of stage musicals where the artistes display the highest level of dexterity on stage.  But with the deep assortments of costumes, designed exclusively to give vent to acting, the playwright has been able to bring her Thespian Family Theatre outfit into an unforgettable reckoning.

    On the 26th of December, the Boxing Day, the hall was packed to the full for the 3pm show.  Up on stage was one of the most fantastic and magnificent stage designs in modern times.  Built with the infusion of village setting in-between, the different dissections and revolving scenes became one of the sharpest selling points of the show.  The different designs rotated between now and then with reminisces.

    The main stage was done in different layers, designed within the background of a local scene from where story –tellers and observers and narrators could have their leeway. Easily so, the stage formation looked like where stones and rocks inhabit, where villagers usually go to watch the moon and the stars converge at night.

    The black background of the stage in rocky formation and layout gave Nissi George the coveted advantage  to act as a sage in the play.  He was the judge, the seer, the narrator, the arbiter.  He was the ubiquitous old man who held the old and the young in the jocular to allow peace reign.

    Itan was brought back this season to mark its 10 years anniversary.  A rare gift, it has won several awards as one of the most researched, stage mesmerizing musicals of all times.  Jaiyesimi insists that the play will never lose its grip or importance to the people.  Its relevance is for all time to come.  It is a reminder of what we were yesterday and what others have turned out to be today.  It is a mix, or a remix, that may not ebb or fizzle out.  Yet it is a mix that has given stage theatre something to talk about.  Itan therefore sounds iconoclastic.

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    In it, tradition has become inevitable.  The youths cannot stop experimenting.  That is what Nissi George tried to abridge or reconcile on stage.  The usage of Boy Alinco, who also showed the extremism of the young, the polluted generation, so-called, shows that theatre is life.  It is an epitome of the zeal to live, to use stage to replicate realities in all facets of social life.  Itan is a replication of life’s many faces and phases.  Nissi George is an enigma, no doubt.  He interprets roles with precision.  His voice projection is resounding and resonates with authority.  Jaiyesimi has the tendency to pick the best to give her script its wonderful impressions on stage.

    Boy Alinco is quintessential. He was able to stand between the two gaps to bring nearer home the whole essence of Itan.  Indeed with the classical dance patterns of the male and female actors on stage, the hall remained calm, only clapping intermittently to show appreciation.  In using songs to tell the story, the impact became instantaneous.  The songs travelled far into the past to unearth the old.  Some of the songs also dwelt in the present refusing to leave the present generation alone.   With the languages in English and Yoruba interspersed with idioms and proverbs, Itan once more reminded the audience about the problem of allowing moral decadence to take over the earth.  And this was why the village stage designs was alluring while the city has all the trappings of deceit, evil over good.  Yet, the two must come to a meeting point to avert disasters.

    When Laraba left home to the city where she entered into the hands of a street boy, it became apparent that the story would not end well.  Laraba lost her mother at birth.  Single-handedly raised by her father, she saw him as too old to instruct her.  Her man in the city however abandoned her with the baby boy.  The boy became a street boy as well.  Then the grandfather went in search of the grandson, the son of Laraba.  The sequences then produced the beautiful scenes that generated into Ian, the story.  They are scenes to teach wonderful lessons to all.  It is a therapy, indeed, the stage musical show is therapeutic.  But lasting for over two hours could make it overstretched and boring.  At a point the story fluctuated, became repetitive.  It became stuck for want of further suspense.

  • The View from Here 

    The View from Here 

    • By Olanrewaju Olajumoke Akinla 

    Staring out my window into the long 

    night, sniffing the smell of rain. 

    Watching the wind increase its pace, 

    lavishing its might on the leaves. 

    Yet— unwavering—the tree stands still, even as the wind presses its strength against her leaves. 

    Someday, the distressed leaves 

    hum aloud: 

    Someday, you wind, will exhaust your strength, and the night will walk away. 

    The poem was written by Olanrewaju Olajumoke Akinla, during a period of global political and social instability, this poem reflects on endurance, stillness, and hope amid uncertainty.

  • Wizkid, Otedola, Selman make Kehinde Ajose’s inaugural ‘Visibility 50 Africa’ list

    Wizkid, Otedola, Selman make Kehinde Ajose’s inaugural ‘Visibility 50 Africa’ list

    Kehinde Ajose, a seasoned visibility strategist and PR expert, has unveiled the inaugural 2025 edition of The Visibility 50 Africa. Powered by Visibility Solutions Media (VSM), this “Inspire Africa” initiative is the first curated documentation project of its kind, highlighting 50 African personalities and brands across entertainment, business, politics, faith, thought leadership, sports, and diaspora influence.

    Ajose, the founder of VSM, launched the project to showcase individuals whose strategic public positioning has achieved measurable global impact. Among the high-profile names featured are music icon Wizkid, business mogul Femi Otedola, and influential Christian leader Apostle Joshua Selman.

    “For Africa to truly take its place on the global stage, we must do more than create value; we must document and showcase it to the world,” Ajose said. “In an era where information is abundant but attention is scarce, being seen, heard, and remembered is no longer a luxury, it’s a strategic necessity.

    The 2025 list celebrates leaders who have dominated their fields through intentional branding. In music, it features global stars Burna Boy, Tems, and cultural architect Don Jazzy. In corporate and tech, innovators like Dr. Foluso Amusa, Tolulope Joshua Oginni, and AI pioneer Agbolade Omowole are recognized.

    The initiative also highlights creative talents Kiekie and Bimbo Ademoye, cinematic storytellers Olajide Ajose and Titilola Ajayi, and humanitarian leader Clare Ezeakacha. In tech and policy, cybersecurity expert Chukwuebuka Johncollins Onyechi and Dr. Toyosi Akerele-Ogunsiji are spotlighted for their leadership.

    Supported by partners including Mascot IT, Jide Ajose Productions, and Clare Cares Foundation, The Visibility 50 Africa aims to serve as a practical reference for the industry. “Your story deserves to be told, but you must be the one to tell it,” Ajose concluded. “If you are not seen, you are invisible to your market.”

    Others on the list are Chude Jideonwo,  Victoire Mahounou, Jessica OS, Tems, Burna Boy, Davido and a host of other inspirational Africans.

  • How Bright Urhobo is positioning African creativity on World stage

    How Bright Urhobo is positioning African creativity on World stage

    Global fashion today is driven by collaboration the meeting of cultures, ideas, craftsmanship, and markets across borders. In this evolving landscape, Bright Urhobo, Creative Director of Ranto Clothings, represents a new kind of African creative leader: one who understands that collaboration is not about dilution of identity, but about strategic exchange and mutual respect. His work demonstrates how African fashion can engage globally without losing its soul.

    Bright Urhobo approaches global collaboration with clarity and confidence. Rather than adapting African fashion to fit external expectations, he positions it as an equal contributor to global style conversations. Ranto Clothings is built on the belief that African designers bring unique value cultural intelligence, craftsmanship, and storytelling that global fashion ecosystems increasingly seek. This mindset allows collaboration to occur on balanced terms, where African creativity is not consumed, but recognized and respected.

    At the heart of Urhobo’s collaborative philosophy is authenticity. Every potential partnership whether with international stylists, creatives, artisans, or fashion platforms must align with the brand’s values. This intentionality ensures that collaborations enhance the Ranto identity rather than compromise it. In a global industry often driven by trends and commercial urgency, Urhobo’s approach stands out for its discipline and long-term thinking.

    Global fashion collaboration, as practiced by Bright Urhobo, also extends beyond aesthetics into systems and knowledge exchange. He views collaboration as an opportunity to learn, share production standards, explore sustainable practices, and expand African fashion’s access to global markets. This perspective elevates collaboration from visibility-driven partnerships to value-driven relationships that strengthen the entire fashion ecosystem.

    Importantly, Urhobo challenges the historic imbalance in global fashion collaborations involving African brands. Instead of Africa serving only as inspiration, Ranto Clothings participates as a creative authority. Through refined design language and consistent brand storytelling, Urhobo ensures that African fashion enters global spaces with confidence, credibility, and commercial viability.

    His vision reflects the future of global fashion itself one that is no longer dominated by a single geography, but shaped by interconnected voices. In this future, African brands are collaborators, not contributors on the margins. Bright Urhobo’s work illustrates how intentional leadership, strong identity, and strategic partnerships can reposition African fashion as a global force.

    Through Ranto Clothings, Bright Urhobo proves that global collaboration does not require compromise. Instead, when guided by clarity and purpose, it becomes a powerful tool for cultural exchange, economic growth, and global relevance. In redefining how African fashion collaborates with the world, Urhobo is not only expanding his brand’s reach he is helping reshape the global fashion narrative itself.

  • How Flavour’s Homecoming rocks Awka

    How Flavour’s Homecoming rocks Awka

    By Chuka Nnabuife

    Memories of Flavour’s Homecoming concert at the Solution Fun City, Awka, on December 30 are still fresh. The event was a grand slam, with over ten thousand participants rocking out to the Anambra State-born musician’s tunes. The venue was abuzz with energy, verve and ample space for attendees to roam and revel in the festivities. There was a large space for cars to park and scores of security cops on duty.

    As the star artiste Flavour (locally known as Chinedu Izuchukwu Okoli) took the stage, the audience was treated to a seductively lit, colourful spectacle that went beyond just music and performance. Flavour’s infectious rhythms had the crowd dancing, singing along, and making merry. The atmosphere was agog, electric, with young lads blasting away fireworks in the euphoria of the Yuletide season. When the popular avantgarde, Onitsha-based cleric, Chukwuemeka Cyril Ohanaemere (aka Pastor Odumeje, Indaboski among other aliases) joined Flavour to perform on stage, the arena erupted higher.

    But it wasn’t just the music that stole the show – the Solution Fun City itself was a spectacle to behold. Brilliantly coloured paintings, artistic installations, and engaging pieces of functional engineering created an atmosphere of wonder. As attendees explored the venue, they discovered a vast array of facilities, including an amusement park, water park, and lifestyle entertainment complex.

    Indeed, the Solution Fun City is more than just a recreational park – it’s a large, integrated leisure destination that’s redefining modern recreation in Southeastern Nigeria. With its thrill rides, Ferris wheel, water slides, and sports facilities, it’s the perfect spot for families, tourists, and major events. The facility boasts an impressive array of amenities, including multiple swimming pools, indoor gaming and cinema halls, a mini-sports stadium, and courts for tennis, squash, volleyball, and badminton.

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    Governor Chukwuma Charles Soludo who spoke at the concert noted that the fun city has been attracting over seven thousand visitors daily during the Yuletide period, a testament to the ingenuity of the initiative. As Anambra State’s flagship leisure project, the Solution Fun City is positioning the state as a hub for modern recreation, tourism, and the creative economy.

    The success of the Flavour concert is a clear indication that the Solution Fun City is on the right track. The facility has become a beacon of entertainment and leisure in Anambra State, offering something for everyone. Whether for a thrill-seeker or family looking for a fun day out, or simply someone who wants to experience the best of Anambra’s culture, the Solution Fun City is fast-evolving into the place to be, not only in Anambra but in the South-East zone.

    As the Yuletide season comes to a close, the Solution Fun City remains a shining example of what Anambra State has to offer. With its unique blend of entertainment, culture, and natural beauty, it is turning out to be a destination that leaves a lasting impression on visitors.

    • Nnabuife, Managing Director of the Anambra State Civic and Social Reformation Office writes from Awka.

  • Ada celebrations spark applause for Lagos Commissioner

    Ada celebrations spark applause for Lagos Commissioner

    Ada’s rich cultural heritage took centre stage as the recently-concluded Ada Week celebrations rekindled memories of the global attention that greeted FESTAC ’77, drawing renewed focus to Nigeria’s growing cultural and heritage tourism potential.

    The celebration, held at Ada Secondary Commercial School, Ada, Osun State, attracted traditional rulers, community leaders, media executives and indigenes, with special commendation for the Lagos State Commissioner for Information and Strategy, Mr Gbenga Omotoso, whose presence and support drew widespread applause.

    Omotoso, an indigene of Ada, led notable media executives, including Mojeed Jamiu and Ayodele Aminu, to the event in what the Central Planning Committee (CPC) described as an unprecedented show of solidarity and philanthropy. It marked Omotoso’s first homecoming and public participation in the Ada Day celebration since its inception in 2012. The grand finale of the 3rd Ada cultural celebration began around 11 a.m. with the arrival of the royal host, the Olona of Ada, HRM Oba Dr Oyetunde Olumuyiwa Ojo, Ogunbodun I, who led high chiefs and prominent indigenes to the venue.

    The event featured a colourful display of culture and artistic expressions, including performances by traditional dancers, teenage drummers, acrobats and local artistes. A parade of traditional hunters, whose dane guns echoed intermittently, thrilled market women, artisans and members of social clubs, many of whom turned out in colourful ankara attire, singing and dancing in celebration of their identity.

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    Chairman of Ada Community Development Association, Chief Olusegun Alalade, Bobagunwa of Ada Land, in his welcome address, thanked dignitaries and friends of the community for their presence and generous donations. He said the support underscored a shared commitment to repositioning Ada as a national cultural hub, given its rich heritage and historic sites.

    One of the highlights of the celebration was the fundraising exercise, which received overwhelming support from members of the communities, social clubs, and traders’ associations. Members of the Osolo community, led by High Chief Oladele Omotoso Fagunwa, Jagun Oke; Baale Chief Dr Fakorede Abel; and the Eesa of Ada, High Chief Ajayi Oyeniyi Samson, drew commendation for coordinated donations running into millions of naira.

    The festivities climaxed at the palace groundof Oba Ojo with a vibrant Akara Night Fiesta. The culinary event celebrated African cuisine and hospitality, attracting both casual diners and lovers of traditional delicacies, and bringing the Ada Week celebrations to a memorable close.

  • ‘My movie is not a slight to Christian celebration’

    ‘My movie is not a slight to Christian celebration’

    Nollywood actress and producer, Ini Edo, has dismissed claims that her new film, A Very Dirty Christmas, is an attempt to undermine the Christian celebration of Christmas, describing the title as a metaphor rather than a mockery of faith.

    The controversy surrounding the movie has sparked conversations across religious and creative circles, with the Christian Association of Nigeria (CAN) raising concerns over what it perceived as a trivialisation of a sacred season. However, industry stakeholders insist the film is being misunderstood.

    In a statement issued by the Actors Guild of Nigeria (AGN), signed by its outgoing president, Emeka Rollas, the guild maintained that the title does not insult Christianity but rather serves as a creative expression used to convey the film’s storyline.

    According to the AGN, the movie is a family drama set against the backdrop of Christmas and does not in any way ridicule or demean the Christian faith. The guild urged critics to assess the work in its full context instead of drawing conclusions based solely on its title.

    “Christmas remains a sacred season symbolising holiness, redemption and hope. Yet, it is also a time shaped by diverse human realities. These realities do not diminish the sanctity of the season but reflect the complexity of lived experiences,” the statement read.

    The guild also noted that Ini Edo, a practising Christian, would not deliberately produce content that undermines her faith, adding that the Nigerian Film and Video Censors Board had approved the film in line with its regulatory mandate.

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    Speaking at a private media screening held at Filmhouse Cinema, Landmark, recently, Edo explained that the title was chosen to reflect the events that unfold during the Christmas season in the film.

    “The whole idea was that it is Christmas and they are coming home to celebrate. The events that unfold during that period are what informed the title. It’s metaphorical and meant to spark curiosity,” she said.

    The actress explained that the title was also influenced by commercial considerations and the need to keep audiences intrigued without revealing too much of the plot. She added that no objections were raised before the film’s release and that the title would have been reconsidered if concerns had been expressed earlier.

    Edo further disclosed that the word “Dirty” was initially intended to be spelt as “Detty”, but the alternative was already trademarked. While she admitted considering a title change, she noted that it would be difficult given that the film is already showing in over 70 cinemas nationwide.

    “I don’t want anyone to feel hurt by something that was meant to entertain. I respect Christianity deeply and would never intentionally disrespect it,” she said.

    A Very Dirty Christmas tells the story of a family reunion that spirals into chaos as buried secrets come to light. The narrative follows sisters Lulu and Lala, who reunite at their father’s home for Christmas, only to discover that their sister, Jade, is missing. Their search sets off a chain of events marked by tension, revelations and emotional confrontations.

    Blending humor with suspense, the film explores themes of betrayal, deceit and redemption. Despite assumptions suggested by its title, it contains minimal explicit content and focuses largely on storytelling and emotional depth.

    With its mix of drama, humor and moral undertones, the film offers audiences a compelling festive experience and adds a distinct flavour to Nollywood’s Christmas movie lineup.