Category: Arts & Life

  • The great eight masters at Fobally

    The great eight masters at Fobally

    If there is any memorable show in recent time that was initiated to celebrate the grandmasters in printmaking, the forthcoming hosting of the eight grandmasters’ rare collections at the Fobally Art Gallery Lekki, Lagos is it. The group show, which will show a wide range of printmaking techniques such as plastograph, monoprint, viscosity, lino block, drypoint, serigraph and etching made popular by these grandmasters, is also meant to promote printmaking, the influences and its increasing value in the art market.

    Beyond its aesthetics, the group exhibition will also highlight the inspirational influence and legacies of the legends. They are Prof Uche Okeke, Prof S.I. Wangboje, Prof Bruce Onobrakpeya, Prof Salubi Onakufe, Ademola Williams, Tayo Quaye, Dr. Kunle Adeyemi and David Dale. It will run from August 10 to 30 at Fobally Art Gallery, Lekki, Lagos

    The grandmasters are not only pacesetters, but are also quintessential printmakers who have contributed immensely to the establishment of printmaking in Nigeria from independence period till date. With peculiar modern and contemporary ideas through experiments, materials and different methodical explorations in their various studios, they continued to position printmaking as a grand creative art form in Nigerian art.

    The Founder/Creative Director of Fobally Art Gallery, Mrs Folasade  Abiola, underlined the importance of the pioneer grandmaster exhibition in sensitising the public and driving Nigerians acceptance to the art of print making in visual art,  which has long been accepted and celebrated  in other continents.

    “As the exhibition entrenched the achievements of the Eight Grandmasters in the Art of Print making in Nigeria in the sand of time,  the exhibition will further expose the upcoming art professionals to the Art of Print making in expanding their horizon to other art mediums that could stand them out in the industry globally. This will surely give birth to more artists that will focus and look into printmaking aspect of visual art,” she added.

    Chairman, Fobally Art Gallery, Mr. Larry Segun-Lean described the great eight as a mix of prolific artists, scholars, educators, and trailblazers, noting that the essence of the exhibition is to look at the legacy of these founding fathers.

    “It will help us to measure the pulse of this evolution of art style and its relevance in our contemporary art world. And I trust collection will provoke further interest in the art of printmaking, its methods, grits and nuances. We intend to have a workshop if possible to dialogue about their art.

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    “Art as a language of the heart is a language of our emotions. So in the pieces they will be showcasing, they will be talking about our emotions, our schools and our thoughts. And then it will provoke and give us demand for answers to the society we live in,” he said.

    According to him, each of the collection will stand as a testament to the grandmaster’s creativity and explorative ingenuity.

    Curator for the show, Dr. Afuevu Onakufe, expressed his excitement ahead of the group show adding that the audience would witness a wide range of printmaking techniques including plastograph, monoprint, viscosity, lino block, drypoint, serigraph, etching and more.

    Onobrakpeya, Wangboje and Okeke  of the Zaria Art School also known as The Zaria Rebels were the  “fathers of printmaking in Nigeria” who later influenced the works of Onakufe, Williams, Quaye and Adeyemi as well as David Dale in their prints and practice through their studios and in the case of Prof Bruce Onobrakpeya, the Harmattan Workshop Series, Agbara-Otor. On their part, Okeke and Wangboje provided a lot of intellectual insights in the works of other academic and studio-based Nigerian printmakers.

    Over the years, the printmaking generational influence spread to art students from the universities, polytechnics and colleges of education through internship and industrial attachment to gain professional experiences for the development and spread of printmaking across Nigeria and abroad.

    These eight grandmasters are the quintessential eight renowned printmakers who have contributed greatly to the establishment of printmaking in Nigeria from her independence till date. With peculiar modern and contemporary ideas through experiments, materials and different methodical explorations in their various studios, they positioned printmaking as a grand creative art form in Nigerian art.

    Onobrakpeya applauded the gallery for its commitment to promoting this movement, saying “when we were growing up, young girls that were about to get married used to be decorated with prints,” he reminisced. “When our parents were making clay pots, they were making prints. Print is a democratic way of creating art. Print is an art that is meant to reach anybody.”

    Ademola Williams recalled his early memories of how he began his sojourn in art in 1968 when he dropped out of school and discovered Ori Olokun art workshop in Ile-Ife. With rigorous tutelage under the likes of Ola Rotimi, his well-rounded art education sparked a passion that still manifests in his visual storytelling through the metallic sculptures.

    Dr. Adeyemi described printmaking as timeless, which transcends time and will remain relevant in many years to come. “You know what? It is actually the printmakers right now that have the opportunity to employ more people in their studio,” he said.  “Printmaking is not something you can do alone. As a matter of fact, in the West, where I had done some residencies, there are people that are accredited printmakers. Printmaking creates employment, even in the art landscape,” he said.

  • The torn tapestry as recipe for global peace

    The torn tapestry as recipe for global peace

    A solo exhibition tagged: The Torn Tapestry by the President Female Artists Association of Nigeria (FEAAN), Chinze Alexandria Anthony-Ojobo opened recently at The Thames-Side Studios, Harrington Way, Warspite Road, Royal Borough of Greenwich, London, SE18 5 NR. Thematically, the exhibition is particularly close to Chinze’s heart as it advocates for global peace over the devastation of war, highlighting the long-lasting effects that conflict can have on individuals and communities. It was held between April 5 and 27. 

    Chinze employs worn and distressed materials to symbolise the emotional and physical scars borne by individuals and communities affected by violence. Torn garments and frayed threads serve as poignant representations of trauma and pain.

    Through techniques such as embroidery and patchwork, Chinze weaves together fractured narratives that emphasize resilience and survival. The metaphorical figures present in her works represent opposing sides in conflicts, underscoring the necessity of dialogue and consensus in the journey toward healing and reconciliation.

    Through this exhibition, Chinze aims to spark conversations about the importance of peace and communication in conflict resolution. Her message is clear: while the scars of war are evident, they can be stitched together with stories of resistance, remembrance and hope.

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    As a contemporary artist dedicated to social change, Chinze draws their attention to her work, reflecting on themes of recovery and the collective effort needed to foster dialogue for a more peaceful future. These narratives are woven into The Torn Tapestry, which is a celebration of resilience and the enduring human spirit.

    She also explores the lasting effects of war and conflict through textiles, acrylic paint and gold pipings. Chinze uses African Ankara fabrics to represent the remnants of violence, with torn garments and frayed threads symbolizing emotional and physical scars on individuals and communities. Through her mixed media and material layering techniques the artist weaves together fractured narratives, emphasizing resilience and the strength found in survival.

    The exhibition aims to spark conversations about healing and reconciliation, highlighting the importance of dialogue and consensus in resolving conflicts.

    The two metaphorical figures on most of the works are artistic representations of parties on both sides of a conflict and highlights the role dialogue, agreement and consensus could play in conflict resolution. She also uses bright colours to convey hope and emphasise light at the end of the tunnel. The gold pipings on each work refers to the values, culture and human essence lost during these conflicts.

    For Chinze, she hopes that the exhibition provokes conversations on the impact of war and the role meaningful dialogue, and consensus could play in conflict resolution. “Peace is definitely better than war. Let us work together to preach the message of peace,” she noted.

    Some of the works exhibited include Di a l o g u e  i n s t e a d  o f  w a r, Consensus, Displaced,  Dialogue instead of war, Emotional healing among others.

    Chinze’s paintings are known for their detail, rich textures, and vibrant colours. She utilises jute, acrylics, and traditional fabrics in her works, creating a tapestry of meaning that often reflects her commitment to social issues. For instance, in Di s p l a c e d, she uses the piece to capture the essence of loss and upheaval through painted fabrics, symbolizing the experience of those forced from their homes. The chaotic arrangement reflects the turmoil of displacement, while the gold pipings signify the hope of rebuilding lives. The contrasting textures evoke the emotional journey of resilience, illustrating the struggle and strength of individuals seeking refuge and stability amidst conflict.

    Whereas, Di a l o g u e  i n s t e a d  o f  w a r  focuses on two group of people representing opposing sides in a conflict. But, the vibrant colours symbolise the potential for harmony, while the frayed edges depict the scars of war. The gold piping serves as visual metaphor for the importance of communication and understanding, advocating for dialogue to resolve disputes peacefully. Though an abstract piece Consensus, represents different voices and perspectives in a conflict. The careful arrangement highlights the beauty that emerges when disparate elements come together. But Displaced captures the essence of loss and upheaval through torn and fragmented fabrics, symbolizing the experience of those forced from their homes. The chaotic arrangement reflects the turmoil of displacement, while visible mending techniques signify the hope of rebuilding lives. The contrasting textures evoke the emotional journey of resilience, illustrating the struggle and strength of individuals seeking refuge and stability amidst conflict.

    In Series description: Consensus, she showcases a patchwork of diverse fabric pieces, each representing different voices and perspectives in a conflict.

    The careful arrangement highlights the beauty that emerges when disparate elements come together. Stitches uniting the patches symbolize collaboration and agreement, emphasizing the strength found in consensus and the potential for unity in overcoming divisions.

    Chinze uses Series description: Emotional healing to illustrate the transformative journey of healing through vibrant colours and harmonious patterns. The intertwining threads represent the interconnectedness of personal experiences and collective healing. The visible mending techniques convey the idea that healing is a process, and each stitch symbolises progress toward wholeness and recovery.

    Chinze is a prolific, award-winning artist who studied Fine and Applied Arts at the University of Nigeria Nsukka, from where she graduated in 1985 specializing in Painting. Chinze also studied Interior designing in the USA, Certificate in curating and art business in Sotheby’s Institute of Art, London. She has two post graduate diplomas (PGD) in Public Relations and Advertising and Business administration. The African Achievers Award Committee recognized her strides in art and awarded her winner of the African Achievers Award in Art in 2018 at the House of Commons, London, UK.

  • Discover Motherland Africa launches “See Motherland through your eyes” competition

    Discover Motherland Africa launches “See Motherland through your eyes” competition

    A new opportunity is calling Nigerians at home and abroad to rediscover and celebrate their roots.

    In partnership with the Ministry of Art, Culture, Tourism and the Creative Economy, Discover Motherland Africa has officially launched the See Motherland Through Your Eyes Photo and Video Competition.

    The competition according to the organisers is a powerful call to capture the beauty, pride, and spirit of Nigeria through personal storytelling.

    The organisers in a statement made available to journalists on Tuesday noted that the competition runs from April 29 to June 1, 2025.

    The statement noted that Nigerians across the world are invited to submit original photos and videos that showcase the Motherland in all its richness — from sweeping landscapes and vibrant cultural scenes to cherished everyday moments.

    “This is more than a competition—it’s an invitation to reflect, reconnect, and reimagine Nigeria through your personal lens,” said Chidimma Nwankwo, Co-Founder of Discover Motherland Africa.

    She added that “Every photo and video tells a story, and together, these stories will remind us of the pride, beauty, and resilience rooted in our homeland.”

    Honourable Minister Barrister Hannatu Musawa, Minister of Art, Culture, Tourism and the Creative Economy, in her remark described the competition as an invitation to: “capture and share Nigeria’s vibrancy, showcasing the beauty, resilience, and spirit of the Motherland. From the Kelangu drumbeats of the North to the bata rhythms of the Southwest and the echoing Ogene of the East, our culture moves like a dance, alive in every moment.”

    The organisers added that the competition features four categories such as; Scenery & Landscapes — Nigeria’s natural wonders and vistas, Hidden Gems — Lesser-known places that deserve the spotlight, Tourism Sites — Historic landmarks and must-visit destinations
and Favorite Places & Memories — Personal stories rooted in special places.

    According to the statement, participants stand a chance to win “1st Place: ₦5,000,000, 2nd Place: ₦2,500,000 and 3rd Place: ₦1,000,000. People’s choice award — awarded to the entry with the highest public engagement”.

    Interested participants are expected to post their entries on Instagram using the hashtags #MyMotherland, #SeeMotherland, and #Motherland2025, and tag @seemotherland. Captions should tell the personal story behind the entry.
To be eligible, participants must also follow @seemotherland, @honhannatumusawa, and @fmactce_nigeria.

    “Weekly features and judging: Throughout the competition, standout entries will be showcased across Discover Motherland Africa’s platforms, offering wide exposure to creators.
Submissions will be judged based on Motherland Spirit, Creativity, Storytelling, Quality, and Public Engagement.
    Winners will be announced on June 6, 2025, via @seemotherland and direct contact”.

    The statement added that “The See Motherland Through Your Eyes competition is part of the broader momentum leading to Motherland 2025 — a global cultural festival and movement celebrating Nigeria’s heritage, tourism, and the reconnection of the diaspora to their homeland.
    For more information, visit @seemotherland or contact info@motherland.africa”.

  • Yinka Ash empowers next generation of creators

    Yinka Ash empowers next generation of creators

    The Yinka Ash Art, Research and Technology Programme (YAART), a leading philanthropic initiative empowering young African creators and entrepreneurs, held the fourth edition of its transformative event last week.

    Organised in collaboration with Bowen University in Iwo, Osun State, the event attracted over 600 students for an immersive experience centred on creativity and business innovation. Highlights included an inspiring keynote by Yinka Ash — renowned entrepreneur, philanthropist, and Founder/CEO of Ashcorp, the parent company behind luxury fashion powerhouses Ashluxe and Ashluxury — who shared insights from his journey building a multi-million-dollar fashion empire.

    During his address, Ash pointed out that less than 20% of graduates are gainfully employed within the first year of their graduation. He attributed this reality to the growing need for students to distinguish themselves early. To help them navigate these challenges, he outlined six key principles to stand out from the crowd, emphasizing that life will throw real challenges their way. He urged students to always document their ideas and to learn to start small, saying, “If you wait for a big idea, for a big amount of money before you start anything, you will not achieve much.”
    The event also featured a dynamic panel discussion and a competitive pitch session. The top three student entrepreneurs were awarded seed grants of ₦1,000,000, ₦750,000, and ₦500,000 respectively, to invest in their ventures.

    Previous editions of YAART have been successfully hosted at Babcock University, Caleb University, and Pan-Atlantic University (PAU), each drawing hundreds of students and emerging talents from across the country.
    Yinka Ash continues to inspire the next generation through YAART. Since its founding in 2021, the programme has become a catalyst for creativity, innovation, and economic empowerment among youth across Nigeria.

    “Creativity alone is not enough; you need structure, mentorship, and access to opportunity. That’s what YAART is about — building bridges for the next generation so they can go even further than we have,” said Ash during his keynote address to an audience of eager young minds. “It’s not enough to succeed. Real success means creating systems that make it easier for those coming behind you. That’s how you build legacy,” he added.

    Under Yinka’s visionary leadership, Ashcorp has launched brands that have become synonymous with luxury and aspiration across Africa. Through YAART, he is now paying it forward, investing in the future of young African talent.

    With plans to expand across Africa and into the UK, where Ashcorp is rapidly growing its footprint, YAART remains a powerful force for social impact and entrepreneurial development.

  • UBA at 75: Tony Elumelu’s legacy of vision, grit, transformational leadership

    UBA at 75: Tony Elumelu’s legacy of vision, grit, transformational leadership

    Great institutions are not built on balance sheets alone; they are forged in the crucible of visionary leadership, relentless innovation, and an unyielding commitment to excellence. As the United Bank for Africa (UBA) commemorates its 75th anniversary, it stands not merely as a financial institution but as an enduring monument to African enterprise—a colossus straddling continents, shaping economies, and redefining the very essence of banking not only in Nigeria alone but to the rest of Africa and beyond. At the heart of this towering legacy is a man whose name has become synonymous with institutional transformation; Tony Onyemaechi Elumelu CFR, the cosmopolitan business magnate, Afro-capitalist, entrepreneur, philanthropist and consummate banker extraordinaire.

    Elumelu’s story with UBA is no corporate fairytale; it is a saga of strategic brilliance, calculated risk-taking, and an almost prophetic understanding of Africa’s financial future which was written in gold. To dissect UBA’s evolution without examining the ‘Elumelu Effect’ is to narrate the rise of Rome without referencing Caesar.  

    The Confluence of Destiny: A Merger That Redefined History

    When the then-struggling Standard Trust Bank (STB), under Elumelu’s nascent but audacious leadership, merged with the venerable but stagnating UBA in 2005, it was more than a corporate transaction—it was a masterstroke of destiny. What many would regard as the unimaginable strategic marriage merger of all time in Nigeria’s history? Elumelu, then a young but fiercely strategic banker, saw what others couldn’t; just like Nostradamus; the man who saw tomorrow, the latent potential of a sleeping giant. Where sceptics saw two banks in need of resuscitation, he envisioned a financial titan—one that would not just dominate Nigeria but plant its flag across Africa and beyond. The merger was not a mere consolidation of assets; it was the birth of a new banking philosophy that has today redefined the banking trajectory in Nigeria.  

    The Elumelu Doctrine: Innovation as a Culture

    TOE as he is fondly called saw leadership as not about maintaining the status quo. It was about corporate disruption, evolution, and future-proofing. Under his watch, UBA became a laboratory for financial innovation that pioneered Digital Banking Long before “fintech” became a buzzword cliche in the tech space. Elumelu pushed UBA into the digital frontier, launching ‘U-Direct’, one of Nigeria’s first robust online banking platforms. His insistence on technology wasn’t just about convenience—it was about democratizing banking, making it accessible to the masses while serving the elite with equal finesse. While competitors focused on domestic dominance, he also assiduously worked on Pan-African Expansion, playing the long game—expanding UBA into 20 African countries, the United States, the United Kingdom, and France. His mantra was clear: “Africa’s prosperity is interconnected, and UBA will be its financial backbone”, this catchy phrase has today cemented the legacy being celebrated today by the bank. In his many innovations, he put customers as paramount, shattering the stereotype by dismantling the archaic, impersonal banking model, and replacing it with a culture of service excellence. UBA became known not just for its liquidity but for its responsiveness—a bank that listened, adapted, and delivered when it mattered the most.

    The Intangibles: Leadership, Brand Equity, and the Elumelu Persona

    Elumelu’s greatest contribution to UBA transcended spreadsheets and shareholder reports. It was in the intangibles- the aura of credibility, the gravitas of leadership, and the magnetic pull of his brand. Under him, UBA became a case study in transparency and strong governance. Investors didn’t just trust the bank’s numbers; they trusted his name and his brand so that they could go to bed knowing a capable hand was getting the work done. Unlike traditional executives, Elumelu positioned himself as a thought leader—penning essays on Africapitalism, speaking at global forums, and framing UBA’s growth within the broader narrative of Africa’s economic renaissance.

    The Tony Elumelu Foundation (TEF) he created to give back to his immediate society and also uplift young African entrepreneurs wasn’t just altruism—it was strategic. It positioned UBA as a bank invested in Africa’s future, earning goodwill that no advertising budget could buy.

    The Legacy: A Bank Built for Centuries, Not Quarters

    As UBA celebrates its 75th anniversary, it does so not as an ageing institution reminiscing on past glories but as a dynamic, future-facing entity. Elumelu’s genius was in building an institution that outlives individuals—a bank with systems so robust, a culture so ingrained, and a vision so clear that it thrives beyond any single leader. His exit from day-to-day management in 2010 didn’t diminish his influence; it cemented it. The structures he built, the leaders he mentored, and the ethos he instilled ensured that UBA’s ascent was irreversible. UBA at 75 is more than a corporate milestone—it is a testament to what happens when visionary leadership, unrelenting ambition, and institutional craftsmanship converge. Tony Elumelu didn’t just run a bank; he reimagined it, reshaped it, and ultimately, immortalized it. As the next chapters of UBA’s journey unfold, one truth remains self-evident: The Elumelu Effect is not a moment in time—it is an enduring force, a legacy etched in the annals of African enterprise.

  • Annabel Joseph’s ‘My Forever Song’, a heartfelt journey through love, culture

    Annabel Joseph’s ‘My Forever Song’, a heartfelt journey through love, culture

    Annabel Joseph’s latest release, “My Forever Song,” is a beautiful testament to her growth as an artist and her deep-rooted passion for music. This track showcases her vocal prowess and emotional depth, drawing listeners into a world of love and devotion. From the moment the song begins, it envelops you in a warm embrace, inviting you to experience the sentiments of everlasting affection that Annabel so eloquently expresses. The melody is both soothing and uplifting, creating a perfect backdrop for her heartfelt lyrics.

    The song’s production, handled by the talented Charles Ikechukwu Onwubuya, known as Onyebeat, adds a polished and professional touch to the overall sound. Onyebeat’s expertise as a music producer and sound engineer shines through in “My Forever Song.” He masterfully blends contemporary sounds with traditional African elements, creating a unique soundscape that complements Annabel’s soulful voice. The instrumentation is rich and layered, with each element thoughtfully placed to enhance the emotional impact of the song. The production is not only technically proficient, but it also captures the essence of the message Annabel aims to convey, making it a standout track.

    Lyrically, “My Forever Song” is an original piece of music, words written by her. It is a mother’s lullaby celebrating the profound love and bond between her and her unborn child”. It’s her own personal experience being expressed through music, the words of the music were written by her. It is also a reflection of Annabel’s personal journey and experiences. Growing up in a Catholic home where music was integral to worship, she has always been surrounded by melodies that speak to the heart. Her transition from church choir to professional singing in 2018 marked a significant turning point in her career, and this song embodies that evolution. The lyrics resonate with anyone who has ever experienced deep love and commitment, making it relatable and impactful. Annabel’s ability to connect with her audience through her words is a testament to her artistry and dedication to her craft.

    Beyond the music, Annabel has made significant contributions to her community, particularly through events like the Bradford African Festival of Arts 2024, where she promoted culture through music. Her involvement in the choir that won the Choir of the Year award at the 2023 Nigerian Choral Music Awards further showcases her talent and commitment to excellence. Annabel’s recent recognition with the African4u award for her contributions to the African community in West Yorkshire highlights her dedication not only to her music but also to uplifting her heritage and community.

    As Annabel Joseph continues to release new singles and work towards her EP, “My Forever Song” serves as a powerful reminder of her journey as an artist. With the expert production of Onyebeat, this track is a beautiful blend of passion, culture, and artistry that leaves a lasting impression on listeners. Whether you’re a long-time fan or new to her music, “My Forever Song” is a must-listen that captures the essence of love and commitment, making it a significant addition to Annabel’s growing discography.

  • Kuenyehia Prize for Contemporary Art debuts in Lagos

    Kuenyehia Prize for Contemporary Art debuts in Lagos

    The Kuenyehia Prize for Contemporary Art (the ‘Kuenyehia Prize’) hosted an awards event and opened a month-long exhibition featuring the work of the 15 finalists of the 2024 Kuenyehia Prize in Lagos, Nigeria.

    The event, the first to be held outside Accra, Ghana, where the Prize started, brought together a crowd of artists, collectors, and cultural enthusiasts, several of whom had flown into Nigeria from Ghana.

    Nigerian artist Chinecherem Peace emerged overall winner out of 217 applicants, with Senegalese artist Djibril Coulibaly and Ghanaian artist Moses Adjei named as first and second runners-up, respectively. 

    The winners share prize money of ten thousand United States Dollars ($10,000) and would benefit from mentorship, international exposure, and tailored career development. As Isaac N.O.B. Ashalley, Coordinator of the Kuenyehia Prize, puts it, “The Kuenyehia Prize is more than an award—it is a career catalyst.”

    Chinecherem Peace, the winner, expressed deep gratitude for the recognition, dedicating her win to “every young African who dares to dream on a blank canvas.”

    The founder, Professor Elikem Nutifafa Kuenyehia, opened the night with personal reflections on the transformative power of African art. Sharing a story about his early art collecting days, he recounted how a modest $50 purchase grew exponentially in value — a vivid testament to the often-overlooked potential of African artists. “When we support our artists, we create shared prosperity,” he urged, encouraging the audience to mirror the pride and support Nigerians show for their creative industries.

    The guest of honour, Gideon Aryeequaye, Executive Secretary of Ghana’s Creative Arts Agency, delivered an inspiring speech, reminding attendees that “life is but a piece of art: we are either the art or the artists.” He called on African societies to treat art not as an accessory, but as an essential part of cultural and national identity.

    The evening concluded with guests exploring an exhibition of works by the 15 shortlisted artists, participating in a silent auction, and engaging with art that tells stories of resilience, heritage, and innovation.

    The public exhibition, which was opened by Ms. Barbra Anti, the Ag. Consul-General of Ghana to Lagos, continues until 24 May 2025 at 1952 Africa12a Abeke Animashaun Street, Lekki Phase 1, Lagos.

  • Okediran at 70: Celebrating medical doctor turned writer

    Okediran at 70: Celebrating medical doctor turned writer

    By Denja Abdullahi

    If I ever get to write a memoir on my work and time in the Association of Nigerian Authors (ANA), my relationship with Wale Okediran will occupy a full chapter of its own and some of the other chapters may be interspersed with one thing or the other about him. We have been that close in the Nigerian literary community and I can today claim to be one of his closest literary confidants; the relationship veering beyond that into other personal areas of life.

    20 years ago when Wale Okediran clocked 50 years of age, I was at the center of the small group of writers between Abuja and Minna who organised a literary reception for him at Agura Hotel in Abuja with music, drama, poetry rendition and other such literary feasting. Then Okediran was a member of the Nigerian parliament at the Federal House of Representatives and the event pulled bigwigs from the political class. Okediran was yet to become the President of ANA and was then only the immediate past General Secretary , while I was the Assistant General Secretary under the Presidency of Prof. Olu Obafemi. But the Okediran’s contribution to the Association then and the general literary community was already prodigious and far-reaching to warrant me penning a long poetic piece on him entitled “ A Chant for Okediran@50,” delivered at the occasion for me by Omoóba Jerry Adesewo. It beggars reciting here:

    Beyond this poetic effulgence, I also wrote a piece to commemorate that occasion which was syndicated across many national newspapers in the country then. In the piece entitled “Periscoping Wale Okediran@50” I recounted his achievements as a writer, calling on literary critics to pay more attention to his many novels beyond the normal call they give to writers of the popular literary genre such as Okediran. Even at that time I had seen the profundity in his many novels which connect to other areas of life such as the environment, medicine, psychiatry, conflict resolution and politics. My believe in his writings at that time made me to write a rejoinder to Prof. Charles Nnolim’s critique of one of his novels (Dreams Die at Twillight)alongside other writers in a popular critical tirade against what he called “writers of the fleshly tradition.”  Charles Nnolim saw me years later in Owerri at a literary function and commended me for the spirited defense of Okediran’s works and others in my rejoinder to his piece. In that same piece celebrating Okediran@50 , I examined his work as a literary administrator in ANA, the highest position he had held at that time being ANA’s General Secretary , and my impression then is worth recalling substantially:

    I went on to maintain that it was therefore not surprising seeing Okediran transmuting into a politician as he has the spirit of service in him; a spirit in line with the Hippocratic oath he took   at the beginning of his medical practice.  I noted that in line with his personal disposition as a humanist and being a writer with a compelling obligation towards egalitarianism, he could not but play progressive politics which he did throughout his tenure in the Nigerian parliament. I observed that his foray into politics did not make him forget his primary constituency, which I took to be the literary community, not even medicine, which is his first love. Even as a politician, he was everywhere attending literary events, supporting writers and continued writing.  He often says at most public occasions that medicine is his wife and literature is his mistress!

    Some of us in the literary community would not want to lose Okediran to the political world, even though the medical world has substantially lost him to us. We made move to drag him back to literary politics while he was still a parliamentarian. I remember me and my literary colleague, Mallam B.M Dzukogi of ANA Niger, friends most times and opposing literary gladiators at a later time, met Dr Wale Okediran in his house at the Apo Legislative Quarters, Abuja, to sell the idea to him to contest for the presidency of ANA as the tenure of the then president, Prof. Olu Obafemi was about coming to an end. Okediran was hesitant, knowing fully well that a perennially insolvent association like ANA with a highly critical membership was a difficult one to run. He had held at that time many national executive and state council positions in the association, culminating in his being national treasurer and general secretary , so he knew that carrying the load of the presidency of ANA was like carrying the head of an elephant! We insisted he was equal to the task with his experience and network of contacts and widespread goodwill. He finally agreed on the condition that I must be ready to work with him as the General Secretary. From then, I took over his campaign for the position and I and others in his team helped to neutralize his main opponent and won many people over to his quest to lead the association. He had the pedigree of service to the association and with his philanthropic disposition, it was easy to get him to a convincing victory at the ANA Convention which held at Kano in 2005. Prof. Jerry Agada who was gunning for the same position withdrew his candidacy to become the vice presidency, leaving only Dr Emma Shehu of ANA Abuja who introduced a stiff political dimension to ANA literary politics, which all the same fell short of giving him victory against a popular candidate as Dr Wale Okediran. I at that same convention won my quest to be the General Secretary of ANA from the assistant position I was holding to the then General Secretary, Nduka Otiono.

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    Okediran and myself came back to Abuja rearing to go all the way for ANA. For the four years I served under the Dr Wale Okediran presidency as General Secretary, I learned a lot of lessons in service and leadership and also got very close to Okediran as a person. At first, I began operating as ANA’s General Secretary in the laid back, all-knowing impresario manner of my predecessor in office, but I soon got to know that with Okediran, it is the job that matters not the office. I had to increase my pace of work to match his and even overtook him. If Okediran wanted something done and got across to you to do the job, a slight delay on your part would lead to him executing the same job himself without your input. He was averse to official sloth on the job by way of merely exercising the importance of your job description. He hated unnecessary bureaucracy; not in a non-governmental organisation and never when he could do things himself. I got to know that to be powerful as ANA’s General Secretary under Okediran, I had to have a high work rate and develop the ability to attend to multiple issues as they arose. I became a perfect General Secretary to him and the association by ensuring that I was always a step ahead of him in nearly every matter. I scoured through the dailies for literary issues of importance for the Association to react to(those were the days before the effulgence of the digital space) and I raised my radar to pick every possible happenings with our members and within the literary community, so much so that I broke many issues to him and whenever he got to me about something, I already had a response or plan of action for that same thing. It did not take him time to implicitly trust my judgement as I ran the secretariat of ANA more like the way he ran it when he was General Secretary under the Alhaji Abubakar Gimba’s presidency(1997-2001). Okediran as General Secretary of ANA was responsive, cerebral, focussing on objectives, not prejudicial in working with people and very mobile and I strove to be that and more in that position.

    Like I wrote before, I learned a lot of leadership lessons from my close work and association with Okediran that I put to use to make my own ANA presidency that came later on equally monumental with land marking achievements. One of the most impactful lessons I learned from Okediran is being able to work with anybody with some value to bring to a particular work; even an enemy. Okediran does not discriminate when it comes to work. He is never prejudicial about sex, religion, ethnic group or ideology when there is work to be done. He stretched his olive hands to even avow enemies when it came to working and achieving for the public good and in nearly every case those enemies became good friends. I also learned from Okediran the benefits on working with institutions, partnering and collaborating with individuals and corporation when working on projects where funds are limited as an initiator. Under him, I saw how mere good ideas with no immediate financial back-ups translated into well executed monumental projects. All it took to do that were sincerity, honesty of intention, partnership, collaboration and mutual respect of the interests of parties to the projects. I also learned how to value relationship from Okediran. He was there for everyone as a leader and would not discountenance anyone, no matter the person’s adverse politics to him, in the person’s hour of need, as he was always ready to assist , emotionally, physically or financially. Okediran spreads his goodwill at will both to the deserving and the undeserving. He was a leader who carried everyone along as the president of ANA and such a leader may be betrayed but it would be difficult to scuttle his achievements. Dr Wale Okediran is a humanist to the core, always looking out for those working with him. He is quick to realise when you are not yourself and sets out to immediately lift your spirit anyway he can. He is very loyal to genuine friendship and working camaraderie. Without prompting, Okediran do offers his friends and followers opportunities and vital linkages, many of such which I have benefitted from in the past and right to this moment of writing this piece. He is a friend and a senior colleague who does not hesitate to confide in you over private matters bothering him; seeking advice and possible emotional support. And when whatever you tell him works, he gets back to relate his appreciation.

    Dr Wale Okediran’s service to ANA and the literary community did not end with the completion of his tenure as president of ANA.  He is one ANA’s past president out of the lot produced in the history of the association that is always there to assist practically and actively advising successive ANA Presidents. He continued to railroad important and beneficial linkages for the Association long after he had left office as president. A striking case was his networking to get support for ANA from the lawyer of his opponent in an election petition matter, in the midst of the court battles. That supreme humanitarian effort by Okediran and the lawyer became the annual grant of N3 million naira to ANA by Yusuf Ali (SAN) that the association has been enjoying since 2012 till date.  Wale Okediran supported behind -the – scene substantially my emergence as the president of ANA in 2015. His house in Apo in Abuja hosted a lot of peace and reconciliation meetings among warring ANA members and chapters before my presidency. He even tried to broker an agreement between me and the other contender for the presidency of ANA in 2015,B.M Dzukogi, by hosting a well –attended parley between both camps in his house. The parley, brokered by Prof Zaynab Alkali, Prof May Nwoye alongside Okediran only succeeded in advising for a fair contest devoid of rancour as the battle line was already well drawn.  I later went on to win the contest in Kaduna with a resounding victory and received the support and timely advice of Okediran throughout my tenure.  He tried his best to assist in averting the problems that led to the botched elections at the Enugu Convention of ANA in 2019 but for the political daggers that were drawn against him by power mongers who were most afraid of his pacifist spirit.

    Okediran, as PAWA’s Secretary-General merely transferred the best practices he has acquired as a veritable literary administrator in ANA to run the continental association. With Okediran at the helms of PAWA these past years at the PAWA House on Roman Ridge Road, Accra -Ghana, the activities of PAWA have opened up to embrace more national writers associations across the continent of Africa. Dr Wale Okediran has democratised the activities of the association; effectively bridging the language divides of the continent. He has been innovative, digitally savvy and prolific in the areas of programmes and projects, even amidst the ever dwindling resources available to the association, which is mainly the payment of national subscription by the governments of member -states national writers’ associations. Like he did in ANA . meagre fund or harrowing lack of funds has not deterred PAWA from posting its relevance to the African literary community. Okediran is one who never fails in any given task , no matter the obstacles and challenges.

    With Okediran the success kits are nothing more than hard work, sacrifice, networking, partnership, collaboration and just a little fund to push an idea around. He has deployed all those to great measure in PAWA and has recorded many striking successes; filling the big shoes left by Atukwei Okai and already leaving shoes that may be too big to fill for a future minder of that continental association.

    I will like to end this piece with another poem out of the couple I have written in the past to celebrate the humanity of Okediran. I can say Okediran has the highest number of poems I have written for any Nigerian writer, living or dead.  Here it goes:

    Where is that muse that abandons not its acolytes in  mid-sentence?

    Where is that guardian of the word

    who loans fellow griots matchless metaphors

    Where is that peddler of phrases

    Whose thesaurus is devoid of delimiting words?

    Where is that do-gooder patron

    Who races to draw laughter out from ruptured faces?

    Where is the master storyteller

    Who built a house of words on Ebedi hill?

    Wale Okediran is here and everywhere, let us continue to celebrate him

  • Aworan: Mirroring human experience, reveals power of art and technology

    Aworan: Mirroring human experience, reveals power of art and technology

    The Yoruba phrase ‘Aworan’ translates to ‘image’ or ‘picture,’ making it the perfect title for John Durojaye‘s latest exhibition. This groundbreaking showcase features 20 thought-provoking artworks that explore the human experience and the interconnectedness of people, emotions, and technology in contemporary art.

    Durojaye’s inspiration stems from his global travels and deep reflections on human relationships. “When we spend time with others, we begin to mirror their image, adopting their traits and behaviors,” he explains. This theme of mirroring extends into religion, where Christians and Muslims often emulate the images of Jesus and Mohammed. Through his work, Durojaye examines this phenomenon using a fusion of photography and digital artistry.

     Decade of artistry,  global recognition

    The artworks on display are a carefully curated selection of photography and digital art pieces created over the past 12 years. Durojaye’s innovative approach has earned him international recognition, with his works exhibited in prestigious galleries, including a recent showcase in London. His ability to merge traditional photography with cutting-edge digital techniques has positioned him as a leading voice in contemporary digital art.

    Durojaye’s work represents a masterful blend of visual storytelling and technological evolution.

     His ability to capture raw human emotion while integrating digital processes sets him apart in the global art scene.

    Exploring boundaries of technology, art

    Durojaye’s commitment to innovation is evident in his use of artificial intelligence and digital enhancement to transform his photographic pieces. Some of his works in Aworan were artificially generated from his original photographs, using state-of-the-art digital tools to create a seamless blend of reality and imagination.

    One of the standout pieces, ‘The Passage of Time,’ was inspired by Durojaye’s visit to Leicester, where he captured the contrast between life and nature, reflecting the relentless movement of time. Another striking work, influenced by his visit to the Eiffel Tower, encapsulates the essence of love and urban energy, drawing viewers into an immersive visual experience.

    Bridging cultures

    Despite his global recognition, Durojaye acknowledges the under appreciation of art in Nigeria compared to the international scene. “Art is a powerful tool for storytelling,” he notes. “Through this exhibition, I want to share Africa’s narrative with the world, incorporating diverse cultural perspectives into my work.”

    His dedication to cultural fusion is evident in his ability to merge African identity with modern artistic techniques. This approach has caught the attention of major collectors, with several pieces from ‘Aworan’ already acquired by private and institutional buyers worldwide.

    Personal, environmental reflections

    Two of the featured pieces were created during the pandemic in collaboration with fellow artists, reflecting themes of resilience and connection. Another notable artwork, depicting leaves covering a face, serves as a poignant reminder of nature’s fragility and the urgency of addressing global warming. “We must allow nature to breathe,” Durojaye urges, emphasizing the role of art in environmental advocacy.

    On a deeply personal level, Durojaye’s artistic journey has been shaped by the birth of his first child. “Fatherhood has changed my perspective, especially on the strength of women,” he shares. In tribute, he dedicates a special piece to all women, celebrating their resilience and impact on society.

     Must-visit exhibition

    The ‘Aworan’ exhibition is more than just an art showcase—it is an exploration of human identity, technology, and emotional depth. Selected by Durojaye and his wife, the exhibition’s flyer cover perfectly encapsulates the essence of this immersive experience.

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    As digital art continues to evolve, Aworan stands as a testament to the limitless possibilities of creativity and technology. By inviting viewers into his world, Durojaye challenges us to reflect on our own experiences, connections, and the power of imagery.

    With his works exhibited globally and collectors taking notice, John Durojaye is undeniably a leading force in the modern digital art movement. Whether you are an art enthusiast, a technology lover, or simply a curious observer, this exhibition is a must-visit, offering a profound glimpse into the intersection of art, technology, and human emotion.

  • World Book and Copyright Day: NCC reaffirms action plan to promote copyright awareness

    World Book and Copyright Day: NCC reaffirms action plan to promote copyright awareness

    As the world commemorates World Book and Copyright Day, the Nigerian Copyright Commission (NCC) has reiterated its commitment to its ABC action plan to promote public awareness of copyright.

    With 2025 World Book and Copyright Day emphasising how literary expressions shape global institutions and the importance of copyright in the digital age, the Director-General of the Commission, Dr. John Asein, has reaffirmed the Commission’s commitment to safeguarding the rights of authors and deepening the fight against piracy.

    He made this known in a statement issued by the Director of Public Affairs, Mrs Ijeoma Egbunike, to mark the 2025 World Book and Copyright Day. The day, which is observed annually on April 23, is set aside by the United Nations Educational, Scientific and Cultural Organisation (UNESCO) to focus on books, celebrate authors, promote reading, encourage non-discriminatory access to knowledge, and raise Copyright awareness.

    “In commemoration of 2024 World Book and Copyright Day, the Commission launched a year-long intervention programme to promote reading for pleasure and build respect for copyright through an ABC Action Plan viz: to adopt measures to make reading more fun; to bring books closer to more children and to choose change champions for books and copyright.

    “The Commission is, more than ever, poised to achieve the action plan with the setting up of more Copyright clubs in secondary schools and increased Copyright sensitisation programmes in schools to encourage creativity, promote reading, and encourage non-discriminatory access to knowledge and to raise copyright awareness,” Asein stated.

    With this year’s theme: “Read Your Way”, which is the same as that of last year, focusing on the transformative power of reading,  the DG called for “enhanced collaborations of government, development partners and institutions towards entrenching a sound reading culture. He emphasised that the celebration reinforces the critical role of books in shaping minds, fostering knowledge, and supporting sustainable development. He noted that books, in both print and digital forms, remain essential tools for sharing ideas across cultures and generations.

    He also highlighted the growing importance of digital technology in broadening access to knowledge and enhancing global readership, especially among young people.

     “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.

    “Promotion and publishing of books and readable publications across indigenous languages and digital platforms must be encouraged to actualise the vision of promoting books and reading across the board,” the DG stated.

    Meanwhile, UNESCO has designated Rio de Janeiro, Brazil, as the World Book Capital for 2025, in recognition of the city’s commitment to promoting reading and the literary arts. The designation will run from 23 April 2025 to 22 April 2026.