The Nation Newspaper

Category: Arts & Life

  • Stakeholders canvass community service for minor offenders

    Stakeholders canvass community service for minor offenders

    Stakeholders in the Lagos justice system rose from this year’s Restorative Justice Week seeking an increased community service as a panacea for decongesting correctional centres, rehabilitating minor offenders and promoting the restorative justice system.

    Led by the Lagos State Ministry of Justice Community Service officers, the team made sensitisation visits to communities in Ikeja and Lagos Island, among others.

    Lagos State Justice Commissioner, Mr. Lawal Pedro (SAN) emphasised the importance of community participation and offender rehabilitation, saying restorative justice was not just a legal principle but a fundamental human right. According to him, justice must go beyond punishment to include dignity, restoration, accountability and victim empowerment.

    This year’s Restorative Justice Week was attended by stakeholders from the judiciary and non-governmental organisations, and funded by the European Union. The sensitization drive would offer education on the purpose and value of community service as a corrective and developmental tool in modern justice administration, and reinforce the message that justice is not only punitive but also restorative.

    The International Institute For Democracy And Electoral Assistance, the Sweden-based organisation, which supports democracy in Africa with electoral management training and risk assessments, regretted that public awareness and understanding of Community Service remained relatively low, especially at the grassroots level. “Many residents, traditional leaders, and local authorities still perceive imprisonment as the only valid form of punishment. This misconception often results in stigmatization of offenders, resistance to placements, and weak community collaboration with the justice system,” it stated.

    READ ALSO: Reading Nigeria’s governance signals

    According to statistics, in 2024 the Community Service Unit of Lagos Ministry of Justice supervised 3,765 (3,600 males and 65 female) offenders that had been sentenced to do community service, a figure considered relatively low.

    State Coordinator of Rule of Law and Anti-Corruption Programme (RoLAC), Mrs. Ajibola Ijimakinwa, said though over 300 cases have been referred to the Restorative Justice Unit, “the numbers are still low, and we look forward to increased referrals from magistrate courts and the police.”

    She said: “Before now, justice was mostly about punishment and incarceration. Now, victims and offenders can come together, discuss what happened, the impact of the crime, and reach agreements that ensure the victim is taken care of. We are here to sensitise the public that the Restorative Justice Unit exists in the Ministry of Justice.

    “We urge judicial officers to continue reporting minor offences to the unit, ensuring people don’t go to prison unnecessarily. Awareness must increase so that, in one year, we can see more referrals. Even for cases already in the system, custodial centres can create awareness and request restorative justice when the offender appears before the court.”

    The Director Lagos State Ministry of Justice Community Service Unit, Mrs. Tomi Bodude identified the three major objectives of community service as rehabilitation, restoration and decongestion.

    She said: “Community Service is a non-custodial sentencing for minor offenders, where offenders are required to perform unpaid work for the benefit of the community instead of being sent to prison. Offenders are monitored.”

    “Community Service…helps correct behaviour, allows offenders to give back to society, and reduces overcrowding in our correctional facilities by keeping minor offenders out of custody. It also saves public resources and prevents the exposure of first-time offenders to hardened criminals.”

    The Executive Vice Chairman of Lagos Island East LCDA, Hon. Monsurat Oluwatosin Balogun, said community sensitization program provided an important avenue to educate residents on the purpose and value of community service as a corrective and developmental tool in modern justice administration. “It reinforced the message that justice is not only punitive but also restorative — aimed at building better citizens and strengthening community bonds,” she said.

    The event also witnessed medical outreach offering free health checks, consultations, and treatments.

  • Nigerian sculptor emerges best painter in Qatar

    Nigerian sculptor emerges best painter in Qatar

    After a keenly contested two-day live painting competition, featuring no fewer than 100 hundred artists from across the globe, Nigeria’s Chizogie Stephen Osuchukwu emerged the overall winner at this year’s seventh edition of Qatar International Art Festival, in Doha, Qatar. His composition, of children, eagle, cat and Arab horse was adjudged overall best by the jurists and won a cash prize of 3,500 Qatari Riyal. He beat Spaniard Luis Alava Harrera to second position, while South Korea’s Choi Dong-Hwa and Silvio Duerte Da Silva of Brazil took third and fourth positions respectively. Germany’s Luz Esmeraldo Torres de Delke and USA’s Fatima de La Luz Olea won the fifth and sixth positions respectively.  

    The seventh edition of the Qatar International Art Festival 2025 witnessed six days of vibrant artistic and cultural activity that brought together an elite group of artists from around the world.

    Osuchukwu is a Lagos-based sculptor and a mentee of Chief Nike Okundaye, was among 10 Nigerian artists that participated in the competition. He recalled that he entered for the competition not for the monetary gain but for the exposure and experiences, adding that all the expenses to Doha and back home were borne by him.

    “When I got a call from the organisers in Doha that my drawing is likely to be overall best or runners up, I was overwhelmed with joy,” he said in a chat.

    READ ALSO: Reading Nigeria’s governance signals

    Recalling his experiences, he said: “I am a sculptor, but I love drawing using charcoal. I have participated in different competitions. This was an open call for live painting competition organized by Qatar International Art Festival. We had about 10 Nigerian artists that participated. At the venue in Doha, jurists went round to score artists all through the two-day painting session. My drawing was charcoal on canvas, a black and white piece but sections of it were done with acrylic to highlight the lamp. The message of the drawing is that coming together for the competition shows that diversity unites the world.”

    The seventh edition of the festival with the theme, Diversity in Unity, came to a close with an awards ceremony, and a tribute to participating artists, on December 12, celebrating the creative talents who contributed to the success of this year’s edition. The finale was a luminous moment of inspiration, artistic dialogue, and cultural exchange, reaffirming Katara’s status as a global platform that nurtures creativity and unites artists of diverse backgrounds under one roof.

    Organized by Katara in partnership with MAPS International, the Qatar International Art Festival has strengthened its reputation as one of the region’s leading art platforms-harmonizing global creativity with the cultural spirit that defines the Katara Cultural Village. Its diverse programming offered a dynamic space for engagement between artists and audiences, reinforcing the festival’s role in nurturing talent and promoting cultural exchange

  • With Traces of time, Calabar carnival excites connoisseurs

    With Traces of time, Calabar carnival excites connoisseurs

    For the third year running, the annual art exhibition tagged Traces of Time, which is also the theme of this year’s Calabar Carnival, complements Africa’s biggest street party, which held throughout December featuring vibrant parades, elaborate costumes, music, and dance. Like the carnival, Traces of Time is also showcasing Nigeria’s rich cultural heritage through the eyes of some visual artists. The exhibition, with the theme Identity, was held at the Calabar National Old Residency, Museum Exhibition Hall, Calabar, Cross River State, between December 1 and 30. It was organised by Paris-based curator, Bose Fagbemi in partnership with Cross River State Carnival Commission headed by Sir Gabe Onah. The exhibitors are a mix-pack of old and young artists with diverse backgrounds and styles. The artists include Prof Best Ochigbo, a professor of painting, Edosa Ogiugo, a Lagos-based visual artist, Godfrey Ichile Mashiga, a ceramist, and Octogenarian Princess Elisabeth Ekong Okon, a textile artist whose works are derived from tradition and ancient philosophy like the nsibidi motifs.  

    Princess Okon’s collection is a product of her Mbufari concept she initiated in the 80s with the introduction of creative patterns into traditional table covers for cultural events. The Mbufari Concept was birthed by multiple pieces of waste fabric found in her tailoring shop, rather than put the pieces to waste. They were converted to a series of patterns stitched together like the coat of many colors.

    Mbufari is commonly used for events like traditional marriage, table covers, chewing stick bags, etc. Her designs have evolved over the years and modified into other functions like dining table covers, throw pillows, bed covers, bags, and interior decorations.

    One of her works, The family dining cover shows dominant triangles in this concept represent traditional symbols of fire (upward triangles) and water (downward triangles). These two form part of the fundamental elements in tradition and ancient nsibidi philosophy. The shapes culminate and transform the qualities of water (life) and fire (passion) into the conceptual mbufari design suitable for a family dining table cover. All the colours are carefully selected to represent the values of the family. From Red, which symbolises shared love and passion, Yellow, meaning happiness/sunshine, and dominant dark blue, which envelops the design as a symbol of authority, boldness and wisdom.

    Interestingly, Prof. Best Ochigbo has more works than other exhibiting artists. His works include Calabar/Nwanniba waterways, The return of fisherman, Carnival, A long way to go, Reclining figure, The mind, Landscape, and The politician. 

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    One of the leading fine artists in Lagos, Edosa Ogiugo in his piece on Benin Art, interrogates the impact of the British incursion of Benin Empire on the wives, citing Queen Mother Idia as symbolic of ‘emotional connection – Queens of loyalty.’ His presentation explores loyalty, displacement, feminine strength, and the preservation of culture.

    He stated that at the close of the Benin Empire’s golden era, Queen Idia’s story shines as a beacon of courage, intelligence, and mystical prowess. “Her Image—marked with intricate patterns and calm authority became a lasting symbol of devotion to king and kingdom. Generations later, her legacy seemed to echo through two lesser-known women, Queens Egbe and Aighobahi, the wives of Oba Ovonramwen Nogbaisi.

    “When Oba Ovonramwen was captured and exiled by the British in 1897, his household scattered. But Egbe and Aighobahi chose loyalty over comfort following the Oba into exile, away from Benin’s rituals and the warm coral glow. They carried the weight of empire, memory, and love into foreign lands, their devotion evoking the spirit of Queen Idia’s legendary heroism.

    He noted that within them is a lineage of womanhood, defined by strength and quiet resilience—a deep emotional undercurrent beneath the history we record. But worried that their names are rarely mentioned, their sacrifices often forgotten, yet art and storytelling could and would revive their legacy as a powerful portrait of loyalty triumphing over erasure.

    Describing the famous Queen Idia Head, Ogiugo who showed two works (Charcoal and pastel and Queen’s loyalty) at the exhibition, said the elaborate hairstyles and coral beads worn by Benin women—braided crowns, ivory combs, and ivie strands—are imbued with meaning. ‘They symbolise identity, ancestry, and spiritual protection. Coral, drawn from the sea, stands for purity and an ancestral link; carefully sculpted hair reflects order, beauty, and discipline—outer signs of inner strength. 

    ‘Through this painterly series of mine, the Benin woman serves as muse and messenger—keeper of memory and emblem of resilience. Art gives voice to what history set aside, honouring the indomitable women who loved, endured, and carried their culture through me and loss.’

    Godfrey Ichile Mashiga, a ceramist featured some works such as Bound flight, Fortitude of irony, Echoes of time, Face of passion, Ascending passion, Surface of attraction, Agbada of war, Never ending saga and She who remains

    One of Mashiga’s works, Fortitude of Irony, is a layered and eloquent ceramics visually captivating yet conceptually unsettling.

    The intricately coil-pressed oval form, supported by two stylised hands bound in chains, becomes an embodiment of strength trapped within contradiction. Set upon an open book base, this piece reads like a silent sermon on the struggles of enlightenment, knowledge, and agency in a system rife with paradox.

    According to the artist, in Nigerian context, the work becomes deeply resonant, while the bound hands, symbols of both strength and subjugation suggest the persistent entanglement of potential with systemic oppression. The oval form, balanced delicately, speaks of endurance and fragility, perhaps alluding to the nation’s repeated cycles of hope and disillusionment.

    ‘The open book is especially poignant: a symbol of education, truth, and clarity yet in this composition, it also represents how these ideals are often weighed down or rendered symbolic rather than functional. The use of bisque fired ceramic, combined with vivid acrylic hues and sealed

    with resin, reflects a tension between rawness and polish, struggle and presentation further deepening the ironic undertones.

    ‘Through this piece, the artist critiques the performative strength demanded of individuals in a fractured society. Fortitude of Irony forces us to reflect on how resilience, though admirable, is often romanticized at the expense of genuine liberation. It is not just a ceramic piece, it is a statement. A mirror held up to a society where irony has become both a survival tool and a silent scream,’ he said. 

    In the foreword to the exhibition brochure, Prof Ochigbo observed that the artist ensemble reveals that visual culture always has a history behind it, noting that the works can be described as timeless visualisations of ideas that project narratives on Nigeria’s cultural tapestry and utopias associated with them.

    “The artist, in evolving the memory of spatial imagery in a montage of temporalities, ushers in ideas of the future in the present. The works in this exhibition clearly portray the artists as a group that do not perceive reality as a natural state. Their individuality, style, technique, and mediums of exploration stand them out as artists with ideological differences encapsulating invisible traces that succeed in visible themes with clearly explored passage of me as seen in this exhibition that is tied to the Calabar Carnival.

    “The seasonal Carnival leaves footprints in the sands of time. The exhibition “Traces of Time” leaves behind memories of artistic landmarks revealing distinct ideological identities of the artists with their unique styles, and signature techniques. This identity reflects each exhibiting artist’s creative voice giving verve to the Traces of Time art

    exhibition as a brand. It is this brand that gives the artists a purpose, direction and platform to showcase their creative oeuvres,” he added.

  • Ogbomoso Cradle Carnival 2025: Rare reunion

    Ogbomoso Cradle Carnival 2025: Rare reunion

    This year’s Ogbomoso Cradle Carnival held between December 19 and 22, at the Soun Ogunlola Township Stadium, Ogbomoso attracted hundreds of indigenous socio-cultural associations from home and the Diaspora. The carnival, which was in its second edition, was more than a cultural celebration, as the various activities were in synch with themes of endurance, unity and shared purpose, Assistant Editor (Arts) OZOLUA UHAKHEME reports.

    For four days, the university town of Ogbomoso, Oyo state wore a new look. It ransformed not only into a carnival ground, but also a vibrant tapestry woven from memory, identity and opportunity. And no fewer than 100 indigenous socio-cultural associations from across Nigeria and  the diaspora converged on the Soun Ogunlola Township Stadium, Ogbomoso ardoned  in stunning and colourful traditional attire. Their mission was to pay respects to the reverred Soun of Ogbomosoland, His Imperial Majesty, Oba Ghandi Afolabi Olaoye, Orumogege III. The event was the second Ogbomoso Cradles Carnival 2025 held last month. The parades were not mere spectacles—they were powerful affirmations of belonging, echoing with celebration and pride.

    The carnival, which kicked off Thursday, December 19, showcased rich cultural rites, tantalising exhibitions of local cuisine, mesmerizing masquerades, and the infectious energy of traditional drumming. Spiritual reflections led by Araba of Osogbo, Chief Yemi Elebuibon, spiced the occasion with a contemplative spirituality. He extolled the revival of Yoruba cultural consciousness  while lauding the monarch’s pivotal role in rejuvenating pride in indigenous heritage.

    Providing recreational opportunities for participants, a US-based indigene, Adebayo Majolagbe, organised a 170-kilometre Grand Fondo Cycling Tour beginning from Ogbomoso to Iseyin and back, featuring over 100 cyclists through landscapes that now gleamed with the promise of tourism. The Ogbomoso Marathon, held on Saturday, also amplified themes of endurance, unity and shared purpose.

    All through the city, the carnival literarily revitalised everyday life. Markets thrummed with energy, hotels reported full occupancy and transport operators extended their routes and hours, while food vendors, artisans and entertainers basked in heightened patronage. This celebration turned culture into currency, directly infusing vitality into the local economy.

    Traditional games, golf tournaments, and youth-centered activities intertwined seamlessly with regal ceremonies. The grand celebration of Odun Oole Oba, uniting the five ruling houses, and the installation of new chiefs—including Dr. Saka Balogun as Balogun of Ogbomosoland and Prof Adesola Adepoju as Asiwaju of Ogbomosoland—drew dignitaries and returnees to the palace, bridging governance, tradition and community.

    Adding verve to the entire celebration was the Oyo State Cultural Troupe, which thrilled the residents with scintilating dance, music, and performances on Ajilete Day.   These were presented alongside contemporary entertainers. And the streets morphed into vibrant communal spaces filled with laughter, rhythm and shared pride.

    Political and community leaders echoed this prevailing exuberance. Senator Buhari Abdulfatai hailed the carnival as a living manifestation of unity and cultural confidence, while Prof Adepoju reflected on the heartfelt returns of many indigenes who had been away for years, all moved by the scale and organization of the event.

    In its second year, the Ogbomoso Cradles Carnival accomplished something rare—it made culture profoundly personal again, turning roads into routes of return, festivals into family reunions, and heritage into a dynamic, thriving economy.

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    Speaking on the occasion, Oba Ghandi recalled the philosophy behind the name ‘cradle’ articulating how it encapsulates Ogbomoso’s identity as a wellspring of art, music, values, bravery, enterprise, and creativity—elements that continuously give birth to greatness.

    “This carnival reminds us that we are more than a city. We are a cradle of greatness,” the monarch declared passionately. “A cradle of music, art, dance, innovation, enterprise, values, dreams and limitless potential. From these cradles, greatness was born, and from these same cradles, greatness shall rise again.”

    He described the carnival as both a jubilant celebration and a transformative movement—one capable of sparking a cultural and economic renaissance in Ogbomoso. Recalling the sacrifices of the town’s forebears, the monarch urged the present generation to maximize the opportunities at their fingertips.

    “Our forefathers built with less. If they stood tall against challenges, shall we bow to ours?” he inquired rhetorically. “Ogbomoso will not rise because we wish it. Ogbomoso will rise because we rise.”

    The monarch underscored unity, diligence, and collective responsibility as the indispensable paths to rediscovering Ogbomoso’s greatness, encouraging youths, professionals, traders, artisans, and farmers alike to see themselves as architects of a new era.

    He urged sons and daughters of Ogbomoso residing in Lagos, Abuja, Accra, London, Houston, and beyond to return home, invest, and support cultural initiatives.

    “When we stand together, we are Ogbomoso—a name that carries honour wherever it is spoken,” he affirmed, viewing the carnival as an urgent call to transform heritage into prosperity.

    Chairman Planning Committee, Hon. Olusegun Dokun Odebunmi, confirmed that the carnival has already begun to catalyze significant socio-economic development in the city. “Without question, this festival has brought immense benefits to Ogbomoso,” he stated, reflecting on the collective spirit of a thriving community ready to embrace its future.

    Oyo State Commissioner for Information, Prince Dotun Oyelade said: “Well, I think the event has galvanized the importance of this particular event, with regard to the festival going on right now. If you look at the trajectory of events that started last year, in so many respects, it has grown tremendously because the event has galvanized so many interests.

    “The people there, the number of people there and the number of representatives of interest which this Carnival has gathered globally. And one of the take homes is that the event is not only a local affair but it has graduated and gravitated from a local affair to a regional affair because we had meetings shown from far-flung areas like Australia, the America, United States of America, all of Europe.

    Oyelade explained that the event is going to engender a better framework for next year’s outing.

    According to him “we have assurances from what we have seen that the whole edition is going to be better for the cultural evolution of Ogbomoso and the marketing of the potential of our culture and tradition to the entire world. We are very pleased with this event and we are sure that even those that have started before us in Nigeria will have something to emulate from the outing of Ogbomoso Cradle Carnival.”

    Commenting on the carnival, the Iyalode of Ogbomoso said: “Well, we need to appreciate His Imperial Majesty, Oba Ghandi Afolabi Olaoye, Orumogege III, who initiated this. So we have done 2024 and this is the second edition, 2025.

    We pray it will continue this way.

    The Ogbomoso Cradle Carnival came with lot of merriment; on one hand, this is the period of the birth of our Lord Jesus Christ. And at the same time, it has been listed as part of the Oyo State Vibing December fiesta, which makes the event a gathering for home comers to engage and unite through the one-week-long Carnival.”

  • Laju Iren films releases teaser for cinema debut ‘Onobiren’

    Laju Iren films releases teaser for cinema debut ‘Onobiren’

    Laju Iren Films has unveiled the official teaser for Onobiren, a highly anticipated film scheduled for cinema release on March 6, 2026, with tickets available for preorder from January 30.

    Onobiren, which means “woman” in Itsekiri, is a celebration of women, faith, and African storytelling. Written and executive produced by Laju Iren, the film is directed by Famous Iraoya, director of Finding Nina. Principal photography took place in Warri and Lagos, making it the company’s biggest production to date.

    Speaking on the project, Laju Iren said: “Onobiren is a film that is so dear to me personally and to all of us at Laju Iren Films. We need more like stories that elevate women, and the men who support them, spotlight Africa positively, and showcase the intersection between life and faith. Shot in Warri and Lagos, it is also our biggest film yet in terms of production; it is fitting that this is our first film in brick and mortar cinemas and we cannot wait for the world to see it”.

    The film stars Patience Ozokwo, Deyemi Okanlawon, Bisola Aiyeola, Ruby Akubueze, Chude Jideonwo, Desmond Bryce, and others.

    Produced with support from Africa No Filter and CC Hub Creative Economy, Onobiren aims to tell authentic African stories that resonate across generations. The film was also selected for Entertainment Week Africa and the London Lift Off Festival.

    The teaser  shared late December 2025, has since generated widespread buzz on social media, attracting rave reviews and building anticipation ahead of its cinema release.

  • Year of cultural renaissance, wealth creation

    Year of cultural renaissance, wealth creation

    No doubt about it.  The year 2026, has already started showing visible signs of robust events in the culture sector.  Some carry-over programmes cannot wait to commence.  Some artists have shown also that the enthusiasm of last year must be surpassed this year with dispatch.  Events around wealth creation are more in the offing.  Edozie Udeze writes.

    It is indisputable that since the creation of the Ministry of Creative Economy, the lull in the culture sector seems to have dissipated somewhat.  There is this aura and accelerated pull which the name Creative Economy has added to the creative zeal of stakeholders.  Together it is called the Federal Ministry of Culture, Art, Tourism and Creative Economy.  This rare recognition by the Federal Government by merging all the cultural ideals that propel the creative forces has indeed given artists a huge sense of belonging.

    This year, 2026 looks hopeful.  It is a year of new ideals, year of the execution of big projects.  Already artists, authors, event planners, culture enthusiasts and technocrats have set out programmes to keep the sector alive all year round.

    Come the first or second week of January 2026, Senator Shehu Sani, will present about seven books at the Mpape, Abuja, headquarters of the Association Nigerian Authors (ANA).  Sani is a prolific writer, human rights activist, politician and a formidable member of ANA.  This book presentation will certainly refocus attention on the renewed ideals of the Mamman Vatsa writers village Abuja where authors hibernate.

    There is also the Yusuf Alli (SAN) yearly largesse of monetary donation to ANA to continue its literary campaigns in the state chapters of the association.  Already expectations are high about the money and the grassroots works ANA leaders will do with it.  Over the years, the donation which has become sacrosanct has been very helpful in reaching out to schools in different parts of Nigeria to reawaken students interest in literature and literary matters. Alli always feels obliged to indulge in this kind gesture.

    Art Miabo Enyadike is on her way to Nigeria from South Africa.  A visual artist who resorts to using wastes to create wealth and who has indoctrinated many other artists into this vocation will have her usual yearly art exhibition/festival in Lagos.  Her attention this year will be focused primarily on tertiary institutions from where young artists will be invited to form the bulk of the show.  It’s for her to begin on time to let them into seriousness and secrets of art value, art for art sake and using art to create wealth speedily.

    From the government parastatal of the National Gallery of Art (NGA) will come all their usual yearly shows.  But most of all one of their topical events which involves the stakeholders will surely hold.  This programme attracts all the creative artists in the visual art, both home and abroad to brainstorm on the way forward for the sector.  Ever since he assumed office, the Director, Ahmed Sodangi has not reneged on this.  Also the NGA will hold its annual distinguished lecture during which a timely theme will be chosen to address burning issues in modern and contemporary art.

    As for the National Troupe of Nigeria, its training of young artistes, drummers, costumiers, dancers, actors, and all, will happen.  This time around, it will take place in Lagos and Abuja.  Since the Troupe is operated to cater for all artists, most times its programmes are spread across to reflect its national outlook.  Hajja Bulama Gana, its Artistic Director is often conscious of the programmes that breed togetherness.  So, this year the Troupe will do more to prosper stage dance and performances generally.

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    As for the National Films and Videos Census Board, the issue of controlling and supervising contents and titles to suit a proper Nigerian cultural ethics will continue unabated.  Films convey a societal consciousness and Nigeria is wired to use it to tell positive ideals for all.  Its Director Husseini Shaibu is ever prepared to inject new lease into the sensitivity of the sector for the good of all.  And 2026 is the year when good stories, proper conduct and sound morals must be the watchword of those who control this sector.

    In terms of performances, the Troupe will take on one of the foremost female epic stage shows.  This is Queen Amina, the Zauzau heroine who lived for her people.  The stage performance will also take place in Abuja to show the symbolism of the person of Amina, one of the bravest women leaders in Nigerian history.  Based on its tradition, the Troupe will carry all the necessary people along.

    Again, the late Moses Adejumo alias Baba Sala, ace comedian will be remembered.  This time, the stage performances will revolve within his works, life time and achievements.  It will be tagged laftaism and will happen to commemorate his birthday on May 17.  The Baba Sala Dynasty is not relenting in keeping his legacies alive in the lives and minds of thespians and others.

    The Osun Osogbo carnival sort of street festival will also happen.  A UNESCO recognized event and one of those that attracts tourists to Nigeria, the festival is a big symbolism of a nation on the crest of cultural renaissance.  Already the date and month are sacrosanct.  This time it is hoped a more invigorated young vigin will be found to shoulder the huge cultural responsibility for others.  Osun-Osogbo is a symbol of using culture at its very peak to remake a nation, generate wealth for artisans and for all and for the state.

    The Eyo festival came back again in 2025 after eight years of interregnum to reignite social life in Lagos.  The idea is that it will be more robust this 2026.  It is hoped however that the population of the participating masquerades will be trimmed to a manageable size.  That will surely restore its prestige and compactness.  The beauty and colourfulness of Eyo is never in question. The attraction it has for those who fancy tradition and the beauty of history cannot be controverted.

    So, Eyo, with the assistance of the Lagos State government and the approval of the Oba of Lagos is going to be bigger and more result-oriented this year.  It is hoped that more tourists will arrive.  More Nigerians in Diaspora will return.  But the timetable has to be set well ahead of time to help for logistics.

    In the main, plans are underway to finally create some office accommodation for theatre workers at the Wole Soyinka Centre (National Theatre) Iganmu, Lagos.  For over five years, they have been operating from makeshift spaces, often hanging under trees and shrubs to do their official duties.  Feelers from the Theatre Board says that provisions are underway to accommodate them.  But then, the Theatre management has to do more to ensure that it begins to have popular programmes that make theatre a grassroots affair.

    Based on these, we will witness a sector that is in a process of renewed renaissance.  A sector that believes that wealth is hidden within the confines of culture.  The programmes cannot wait to commence in earnest.

  • I’m focused on reimagining African visual language, says Yele Akin-Johnson

    I’m focused on reimagining African visual language, says Yele Akin-Johnson

    A Nigerian Visual Artist, Yele Akin-Johnson is at the forefront of global digital culture by re-imagining African visual language in a global digital economy.

    Akin-Johnson is working at the porous intersection of brand storytelling, digital aesthetics, and contemporary African identity. 

    According to him, his practice: “interrogates how images shape belief; how commerce, culture, and technology converge to construct narratives about who we are, how we are seen, and how value is assigned in a global visual economy. 

    He said, “Operating across visual media, digital installations, campaign aesthetics, and immersive brand worlds, I use the language of advertising and popular culture not merely as tools of persuasion, but as artistic materials, sites of inquiry, resistance, and reinvention.

    “With over eight years of professional experience collaborating with global and regional brands such as adidas, William Lawson’s, and Campari, my work occupies a deliberately hybrid space: one that refuses the false separation between “commercial” and “artistic” practice. 

    “Instead, I position brand systems, campaign visuals, and digital interfaces as contemporary cultural artifacts symbols through which modern African identity, aspiration, and visibility are negotiated.

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    “At the core of my practice is a commitment to visual storytelling as a cultural intervention. I approach image-making not as decoration, but as authorship. 

    “Drawing from urban Nigerian culture, youth expression, street aesthetics, typography, fashion codes, and digital behavior, I construct visual narratives that challenge inherited stereotypes of Africa as static, rural, or peripheral. 

    According to him, his work presents Africa particularly Nigeria, as kinetic, technologically fluent, stylistically assertive, and globally influential.

    Akin-Johnson said: “My visual language blends traditional African motifs, patterns, symbols, textures, and philosophies with contemporary digital forms such as motion graphics, layered typography, interactive media, and platform-native design. 

    “This fusion allows me to create work that feels at once rooted and futuristic, familiar yet disruptive. The goal is not nostalgia, but continuity: an insistence that African visual culture is not behind modernity, but actively shaping it.”

    “A defining feature of my practice is my use of brand campaigns as artistic laboratories. Rather than seeing campaigns as endpoints, I treat them as performative systems temporary worlds where images circulate, identities are staged, and audiences participate in meaning-making. 

    “Through this lens, I have conceptualized and executed large-scale visual narratives that function simultaneously as commercial activations and cultural statements. One such project is the launch of adidas.com/ng, Nigeria’s localized adidas digital platform. 

    “Beyond its commercial objective, the project became an exploration of digital access, representation, and localization. I worked across visual direction, content strategy, and campaign aesthetics to ensure that Nigerian youth culture was not merely featured, but structurally embedded into the platform’s visual language. 

    “From casting choices to styling, spatial composition, and digital interface tone, the project asserted Nigerian consumers as global participants, not peripheral audiences. Similarly, the “Naija Highlandah” campaign for William Lawson’s whisky stands as a landmark cultural project within my practice. 

    “Conceptualized as a reimagining of a traditionally Scottish brand through Nigerian cultural codes, the campaign merged folklore, humor, fashion, street performance, and digital storytelling to create a distinctly Nigerian mythos. 

    “Visually, the work juxtaposed rugged whisky iconography with Lagos street culture, Gen Z humor, and Afro-urban styling challenging colonial brand hierarchies while maintaining brand integrity. The result was a visual narrative that felt locally owned, culturally confident, and globally legible.

    “My artistic output spans a range of media, often overlapping and evolving depending on context. These include:

    1. Digital Visual Series exploring identity, consumer desire, and visibility in online spaces

    2. Campaign Aesthetics and Visual Systems developed as cohesive narrative environments

    3. Digital Installations and Immersive Brand Experiences, where audience interaction becomes part of the artwork

    4. Typography-led Visual Experiments that draw from street signage, protest graphics, and internet vernacular

    5. Photographic Direction and Motion-led Visuals rooted in youth culture and urban expression

    “Several recurring themes define my practice. Visibility is central: who is centered, who is aestheticized, and who is erased. Having grown up in a media environment where African stories were often filtered through external lenses, I am deeply invested in reclaiming authorship over African visual narratives.

    “Youth culture is another critical axis of my work. Nigerian youth exist at the forefront of global digital culture, driving music, fashion, slang, and aesthetics yet are often misrepresented or underestimated. 

    “My work foregrounds youth not as a demographic, but as a cultural force: experimental, ironic, expressive, and politically aware.

    “I am also deeply interested in consumer culture as identity performance. In contemporary Africa, brands are not merely products; they are languages through which people articulate aspiration, belonging, and resistance. By working within brand ecosystems, I am able to critique and reshape these dynamics from the inside using the tools of commerce to expose its cultural power.”

    With a formal training in Digital Marketing and Business Transformation at Rome Business School, alongside a background in entrepreneurship and brand management, Akin-Johnson’s education sharpened his ability to think systemically to understand how images move through platforms, markets, and communities. 

    He said: “My combined expertise in creative practice and strategic systems places me in a distinctive position within contemporary visual culture. By interrogating both the construction and impact of images, I create work that captures attention, stimulates critical engagement, and sustains cultural relevance.

    “Alongside commissioned work, I maintain an independent creative practice where I experiment more freely with form, narrative, and abstraction. These projects often explore speculative African futures, digital selfhood, and the tension between authenticity and performance. Through leadership roles in visual communication and brand strategy, I also mentor emerging creatives and contribute to shaping how African visual culture is produced, distributed, and valued.

    “As I seek endorsement under the UK Global Talent route, my objective is not relocation, but expansion of dialogue, collaboration, and impact. The UK’s vibrant ecosystem of contemporary art, digital culture, and diasporic discourse presents an ideal context to deepen my practice. I aim to participate in collaborative exhibitions, digital art residencies, and cross-cultural storytelling projects that bridge my Nigerian heritage with global perspectives.

    “My future work will increasingly explore digital installations, archival experimentation, and participatory visual systems projects that invite audiences not just to view, but to engage, question, and co-author meaning. Through this, I seek to contribute to a broader redefinition of African visual language: one that is complex, confident, and globally influential on its own terms.

    “Ultimately, my practice is an ongoing investigation into the power of images not just to sell, but to shift narratives, assert presence, and imagine new cultural futures.”

  • The Alternative Bank trains senior editors on sustainability reporting  

    The Alternative Bank trains senior editors on sustainability reporting  

    The Alternative Bank has concluded a landmark capacity-building programme for 60 senior editors and media executives, aimed at strengthening sustainability reporting and reshaping Nigeria’s national discourse. 

    The two-day programme, held in Abuja as part of the 2025 National Sustainability Week, was themed “Storytelling for Good: Reporting Sustainability, Innovation & Nigeria’s Future” and focused on repositioning the media as a catalyst for national development rather than passive observers.

    The initiative comes at a time when Nigeria faces mounting economic and environmental pressures, alongside global narratives that often overlook the country’s development potential. 

    By equipping senior editors with the skills to better report sustainability, innovation and climate-related issues, The Alternative Bank said the programme seeks to address gaps in public discourse that can influence investment, policy engagement and long-term growth.

    Chairperson of the Sterling Sustainability Working Group, Bunmi Ajiboye, while presenting the Group’s sustainability priorities, outlined how responsible finance, environmental stewardship and social impact are being embedded into its operations. She urged media leaders to deepen accountability through informed reporting.

    “The real power of sustainability lies in accountability. When the media understands the substance behind the buzzwords, sustainability stops being marketing and starts becoming a measurable commitment,” Ajiboye noted. 

    “By sharing the inner workings of our Corporate Social Investments (CSIs), we are providing a blueprint for how corporate Nigeria can drive tangible change. We believe that when the media understands the ‘why’ behind these efforts, they are better equipped to advocate for the systemic shifts our country needs.”

    The training formed part of activities marking the 2025 National Sustainability Week, including a Sustainability Series Campaign, a National Secondary School Essay Competition and nationwide clean-up exercises. 

    Delivered in partnership with NatureNews and the Climate Africa Media Initiative & Centre (CAMIC), the programme covered climate and sustainability communication, storytelling for impact and financial sustainability in media management.

    Sessions were facilitated by experts drawn from Nigeria’s media and policy landscape, including Pius Alabi of NatureNews Africa and CAMIC, former Bauchi State Commissioner of Education Dr. Jamila Dahiru, veteran media executive Akogun Isiaq Ajibola, ICIR editor and FactCheckHub co-founder Victoria Bamas, and Aliu Akoshile, CEO of Almak Media Limited.

    Head of Corporate Social Investment at The Alternative Bank, Solomon Okonkwo, said the initiative reflects the bank’s commitment to strengthening the media sector.

    “We are at a crossroads where innovation and climate urgency meet. By integrating modules on AI and financial sustainability into this curriculum, we are helping the Nigerian media future-proof its operations,” Okonkwo stated. 

    “Supporting this capacity-building program is about promoting an ecosystem where truth and science work together to highlight the sustainable development opportunities across our nation. We are proud to see these editors commit to a community that will keep sustainability at the forefront of the media agenda.”

    Participants at the programme have committed to ongoing collaboration through a closed sustainability media community, designed to ensure sustained engagement and keep sustainability and innovation reporting as a consistent priority in Nigeria’s media space.

  • How JewelryByQuilare defines Nigerian Aesthetic

    How JewelryByQuilare defines Nigerian Aesthetic

    The Nigerian fashion scene has always been defined by its boldness, its vibrancy, and its uncompromising pursuit of excellence. This week, that landscape received a significant upgrade with the official arrival of JEWELRYBYQUILA.

    Known globally for a design philosophy that marries avant-garde contemporary lines with the enduring soul of traditional craftsmanship, the brand’s entry into Nigeria is being hailed as a “cultural homecoming” for the luxury label.

    For years, Nigeria’s fashion-forward elite have sought out JEWELRYBYQUILA’s pieces in the fashion capitals of Europe and North America. Now, the brand is bringing the experience directly to the heart of Lagos. The move is a response to an increasingly sophisticated consumer base that demands more than just a label—they demand a narrative of authenticity, quality, and artistic merit.

    The collections expected to debut in the Nigerian market feature a blend of minimalist gold work and intricate gemstone settings, designed to transition seamlessly from high-level corporate boardrooms to the most exclusive social galas.

    By establishing local operations, JEWELRYBYQUILA is also promising a more personalized luxury experience, offering bespoke consultations and a closer look at the “craft” behind the sparkle.

    As the brand deepens its roots, it is expected to become a staple in the wardrobes of the nation’s style icons, further cementing Nigeria’s reputation as the fashion capital of the continent.

  • Creative platforms elixir for tourism growth, says Awakan

    Creative platforms elixir for tourism growth, says Awakan

    The Director-General of the Nigerian Tourism Development Authority (NTDA), Dr. Ola Awakan, has said that sustainable tourism growth in Nigeria depends on deliberately creating and strengthening platforms that showcase the nation’s rich cultural and creative assets.

    Dr. Awakan made this assertion while speaking as a special guest at the 19th edition of Culturati, Nigeria’s flagship culture and arts festival, held at the Oriental Waterfront, Lekki, Lagos. The event attracted top government officials, traditional rulers, creatives, and tourism stakeholders, underscoring the growing intersection between culture and destination development.

    Describing the festival as both inspiring and nostalgic, the NTDA boss recalled his personal creative journey on the same stage when the platform was known as Sisi Oge.

    “Many years ago, I performed on this very stage with my team in a dance-drama that I wrote and directed. Today, I stand here as the Director-General of the Nigerian Tourism Development Authority. This is proof of how powerful cultural platforms can be, not just for art, but for tourism and nation branding,” he said.

    Dr. Awakan commended the convener of Culturati and Special Adviser to the Governor of Lagos State on Tourism, Mr. Idris Aregbe, for sustaining the festival for 19 years and positioning it as a global-facing cultural product.

    “This is the direction tourism development must take. Our culture is a major asset. Platforms like Culturati should not only be preserved but strengthened and exported beyond our borders as tourism products that attract visitors, investment, and global attention,” he added.

    Read Also: Awakan vows to drive Tinubu’s Renewed Hope Agenda through tourism

    He noted that cultural festivals play a critical role in promoting cultural tourism, preserving heritage, stimulating local economies, and creating sustainable livelihoods for creatives, while reinforcing Nigeria’s image as a vibrant and diverse destination.

    Hosted by popular media personality Kiekie, the festival featured colourful performances, fashion, music, and storytelling that celebrated Nigeria’s cultural identity. Dignitaries in attendance included the Secretary to the Lagos State Government, Barr. Abimbola Salu-Hundeyin, the Erelu Kuti of Lagos, Chief Abiola Dosunmu, the Emir of Kano, Muhammadu Sanusi II, the Olu of Iwo, Oba Abdulrasheed Adewale Akanbi, and renowned art icon Chief Nike Davies-Okundaye, among others.

    The strong turnout and quality of performances further reinforced Lagos’ status as Nigeria’s cultural and tourism capital, while highlighting the power of culture as a compelling tourism draw.