The Nation Newspaper

Category: Arts & Life

  • Pawpaw, beauty and a woman’s face

    Pawpaw, beauty and a woman’s face

    “Beauty is the face of a woman,” Coach Alice began as she reached for Tamara’s face, “A woman’s face is as delicate as pawpaw. Soft, smooth and beautiful. And you must do everything to protect and care for it.”

    She raised Tamara’s head, turned it to the left and then to the right and noted to herself like an artist x-raying a raw canvas before he/she gets to work.

    “And you do not have to empty your pockets before you can get yourself good and affordable skincare and makeup products. And even if you are not bucks up at all, pawpaw is the way to go. You can never go wrong with pawpaw on your skin. It offers several benefits for the skin, including gentle exfoliation, moisturising, and promoting a brighter complexion due to its enzymes and vitamins,” she stated as she continued to examine her canvas – our own Tamara who had just returned from visiting her mother in-law in Ghana. She came back rounded and darker. After lamenting for days, the girls made a decision to bring home a cosmetologist in the person of Coach Alice, courtesy of Ada.

    “Ladies, I know you may be wondering why the choice of bringing a cosmetologist, given the times we are in. But I’d like to say, ‘If we don’t take care of ourselves, who will’.  We care for family and loved ones: and spare no expense when it comes to our children and in the midst of all that, we lose ourselves. Let’s pause a little, seat back, relax, it’s time to pamper ourselves. This is women’s month. And I know most times, the month is commemorated with all kinds of activities around advocacy. But let’s revert to self-care mode. The Women’s Corner has chosen to bring us Coach Alice because we need to take care of our looks. We chose her because she is good with home remedies. She will leave us with cost-effective skin solutions. Welcome to my home. I welcome you, Coach Alice,” Ada said as she received us and the women of our estate to her apartment. This was before Coach Alice began her training using Tamara’s face to school us.

    Read Also; ​TIMELINE of Wike-Fubara fight, Rivers political crisis since 2023

    “Before we start the practical proper, let me take you through the basics. Ada I hope the hot water is on standby? As I’ve said, you don’t have to rob a bank to look good – even to visit a cosmetologist.”

    “Hmmmm….them done come o! Which one be say we no need to rob a bank before we visit a cosmetologist. She na moin moin money we go use go there,” Sexy Jola asked, nudging me on the side even as Coach Alice, after hearing her words replied, “Let me shock you, a session with me is not expensive at all. In fact it is not even as expensive as a plate of rice”. Alice stated, and the room exploded into a frenzy. And a heated argument ensued. “Helloooo…Ladies… Please, let our coach land na. I’m sure she will explain,” Christabel intervened.

    “It depends on where you buy the plate of rice o,” someone screamed and threw the room into a moment of laughter.

    “As I said, a consultation with me is not up to the price of plate of rice. But let’s leave it for now. Before we begin, please choose a partner whom you will be working with. There’s nothing stopping you from continuing even after today to work on each other’s face,” Coach Alice said and went ahead to school us on the simple way to know our skin type; different areas or angle of the face to pay attention to, and home remedies for spots and acne removals, facial scrub, etc.

    As Jolaolu and I joined Ada and Nurse Cordelia in the kitchen to assist in taking the hot water to our cosmetologist, we heard both of them arguing over the pretty Natasha and sexual harassment issue.  As if we planned it, I and my partner in crime grabbed our bowl of hot water, and as we turned to leave, Ada asked: “Evelyn, one minute, we need your opinion on the matter at hand”.

    “If you ask me, na who I go ask,” I said and left without saying another word.

  • After blowbacks, Asake, dad mend fences

    After blowbacks, Asake, dad mend fences

    In just three days, a public family dispute involving Afrobeats star Asake and his father, Fatai Odunsi, captured widespread attention. From claims of abandonment to emotional reconciliations, the saga unfolded on social media, revealing a complex father-son relationship, finally culminating in a heartfelt resolution and a promise of support, reports ASSISTANT ENTERTAINMENT EDITOR GBENGA BADA.

    • Singer to buy new house, settle father’s hospital bill

    In three days, the seeming dirty linen in the private life of Afrobeats singer, Ahmed Ololade Odunsi (aka Asake), rented the air and created a buzz on social media. On Friday, March 14, a video of Fatai Odunsi, who is Asake’s father, appealing to the public for financial assistance, citing severe health challenges, surfaced online. In the now-viral video, the elderly Odunsi revealed that he has been battling stroke since 2022 and has been abandoned by his celebrity son for reasons unknown.

    The elderly Odunsi claimed he was a responsible father, who was present in the life of his son as he was the only product of the short-lived union between himself and Asake’s mum, whose name was simply given as Falilat. He also noted that the last time he spoke or chatted with Asake was in 2022 and he has neither picked his calls or supported him financially as a child should do to his parents. The video elicited reactions from several quarters – with most coming from social media. While reactions were flying about, some blamed Asake’s mother for inciting the singer against his father. Others insisted the senior Odunsi was a deadbeat father, who wanted to reap from where he did not sow.

    Investigations by The Nation revealed that Asake has a chummy relationship with his mother, whom he says he adores. On March 5, 2025, Asake took to his X account to celebrate his mother. He wrote, “Happy birthday to the most amazing mom. Your love and support mean the world to me. I’m so grateful for you every day. Love you more than anything.”

    In what seemed to be a direct response to his father’s claim, the Grammy nominee and former YBNL signee, claimed he did his best to take care of his father but his father wants to cajole him. In the musical response released on his official Instagram pages, Asake claimed it’s hard to satisfy everyone but he will keep doing his best till he passes on. In his words, “You can’t please everyone, you can’t please the world. But anything you are doing, just do it for God. My own father wants to cajole me, and I have sent so much money to him. I have struggled for so many years, but they want to make life tire me.”

    Asake’s cryptic response on social media further elicited claims from supporters of his father, who claimed his father was very present in his life. The supporters insisted that Odunsi was responsible for taking care of Asake when he parted ways with his mum in 1998 and the star singer was just three years old. The supporters went further to blame Asake’s mother for masterminding his decision to stay away and abandon his father. The supporters claimed she did this to get back at Odunsi after parting ways with him over 27 years ago. It was during the back and forth that the existence of an 11-year-old girl, said to be Asake’s first daughter, was brought to the fore. Odunsi’s supporters had backed up their claims of Asake’s abandonment of his father with the claims that he also abandoned his own child.

    After much accusations and counter accusations, the music sensation reached out to his father and made amends with him following the public fallout. On Sunday, March 16, in a short video, Odunsi revealed that Asake had reached out and promised to support him. He went further to say the singer has committed to purchasing a new house for him as he’s currently shopping for a house for him and promises to cover his medical expenses by booking a doctor’s appointment in the highbrow Lekki area for him. He said he’s happy with his son and prayed endlessly for his success at all times.

    Read Also; ​TIMELINE of Wike-Fubara fight, Rivers political crisis since 2023

    “His mother ought to ask him when he last saw me. That was what got me angry, but we have sorted out all the problems. We are no longer fighting. Asake said he will do everything that I want. We have settled, no more problems. They are now looking for a new house that he will buy for me. He has settled everything,” he said in the video.

    On taking responsibilities of his daughter, Odunsi said Asake has also agreed to take full responsibility for his 11-year-old daughter, Zeenat. “He has never denied his child, but he has now promised to take full responsibility for the child,” Odunsi said in the video.

    Reactions from different quarters

    Sesan Adeniji reacted to the first video from Odunsi saying, “To imagine Asake’s alleged father fails to use his first public appearance to reconnect by saying “Son, I still love. Forgive me if I have wronged you.” But instead he used his name to beg and also dent his image by saying “he has not picked my call” is bonkers entitlement. Any father that publicly chastises his son indirectly for allegedly not helping financially (no matter the circumstances. I know we sometimes need help), may win the battle of public opinion but arguably have failed to act as a father. Use love to connect and not pressure.”

    Adeniji responded again after Asake and his father settled their rift saying, “Asake has done the transaction. His father said “We have spoken. He’s about to buy me a house. Fight is over…(paraphrasing).” Arguably, sometimes, the level of love you get from some of your family members is transactional. Get money and God’s grace.”

    Reacting to the public fallout, Sheriffdeen Ojon Olorunfemi said, “Egbon Malo (as Odunsi is widely referred to) and my uncle, Ambaliu Olorunfemi, worked together as Local Government Council traffic officials. He (Asake) inherited all the talents of his father, both in singing and drumming. During his struggles to succeed in life, Allah made me become involved in his life in one way or the other, through his mother, who informed me about his music career. Ahmed himself contacted me via WhatsApp after his mother shared my contact information with him. I recall praying for him for several days. As I always say, no prayer goes to waste.

    “While I cannot definitively say whether my prayers were answered, I can see that all that I told his mother about Ahmed is manifesting in his life now. I thank God for his life, and I advise him not to neglect his father if he wishes to continue prospering in life. Thinking about his son neglecting him caused his stroke in 2022 and also delaying the healing on time. My name is Alfa Sheriff Islander Omo Oju Olokun, Isale-Eko, Lagos Island.

    “Anyone who doesn’t know Malo, Ahmed, and Iya Asake but you’re online, calling his father all sorts of names and saying he didn’t care for Ahmed just to get traffic on your page and monetisation money, God will judge you negatively in this holy month. Because none of you people saying rubbish know this family more than we people in Isale-Eko. We both lived together in Isale Eko with these people or family, and we know each other better! Baraka Jumath and Ramadan Kareem”

    On his part, Wale Balogun said, “Egbon, I don’t want to say anything about the matter from the onset, but the way people are accusing Bro Malo of neglecting Asake was really disappointing and annoying at the same time. Bro Malo used to live in my family house at No. 4, Ojuyewa Lane with Hammed for years before they moved to Okiti. So I know much about these people. Iya Hammed (Sis Fali) was eku eda. I don’t know what could have happened later on that made her turn her child against his dad. Even if Asake doesn’t want to take care of his father, she is in the right position to let the boy do the needful. From now on, I won’t keep quiet in people’s comment sections anymore because no parent deserves this kind of treatment in old age.”

    Reacting to the fallout, Wale Olaleye, the deputy editor at ThisDay Newspaper wrote, “It is heartbreaking to actually realise that Portable is more sensible than Asake. He should have shut his mouth. Sad!”

    On her part, Canadian based Nigerian media strategist and women advocate, Esther Ijewere, took another point in her submission of the fallout. She wrote, “I had to dig through before I found this photo of Asake from his GQ feature in April 2024. I was looking for an image that reflected both my emotions as a child and his silent response to the ongoing saga. I once left a comment when he changed his look, covering his face with tattoos. I said he was either rebranding or masking a pain he wasn’t ready to confront.

    “The truth about his childhood remains unclear, aside from scattered blog posts, some painting his father in a bad light, others portraying his mother as bitter and harsh. But I am in no position to judge the father who allegedly raised him partially and then abandoned him, nor will I throw his mother under the bus. What I do know is that Asake deserves love from his family, not a public spectacle that leaves him open to criticism. In all our hot takes, I hope we remember that beneath the fame, there is a child in this body who likely longs to hear something other than “I need money.” Artists who sing about loneliness or try to detach from vulnerability are often battling deep internal struggles. There’s a void they are trying to fill. Something they crave but cannot seem to find.

    “Rejection, especially from a parent, can shape a child’s entire existence. It creates a lifelong battle of defensiveness, a feeling of always being misunderstood. A child who grows up hearing “I love you” moves through life differently than one who hears “I don’t want anything to do with you.” Some wounds cannot be healed by money, fame, or influence. True healing requires conscious effort from within.We can’t force it on people either. You can tell a person to forgive without asking them to forget their lived experience. Rather than judge, I choose to send light and love to this incredible artist. No child should grow up in a world where age and cultural expectations suppress their emotions. Children raised this way often become defensive adults, struggling to express themselves, or they shut people out completely. To parents: Please, don’t let the world raise your talented children for you. Be present. Be intentional. Be the voice they hear before the noise of the world tries to define them. A child who feels truly seen and loved at home will have less to prove to the world. I wish him well.”

  • Lagos celebrates Art of Love Lagos

    Lagos celebrates Art of Love Lagos

    By Precious Godwin

    Lagos State Government reaffirmed its commitment to the arts and culture sector at the Art of Love Lagos event held recently at the Nike Art Gallery, Lekki Lagos. Organised by the Lagos State Ministry of Tourism, Arts and Culture in collaboration with the First Lady of Lagos, the event brought together notable figures in the creative industry, diplomatic community and traditional institutions.

    Renowned actress Kate Henshaw who anchored the event set the tone for a day of artistic expression. The chief convener, Chief (Mrs.) Nike Okundaye, fondly known as Mama Nike, whose decades-long work in preserving Yoruba art and culture has earned her international recognition applauded the Lagos State Government for its continuous support of the creative sector.

    Among the dignitaries present were the Chinese Consul General, the British Deputy High Commissioner (represented by Mr. Seinfeld), CEO of Meristem, Mr. Wole Ogunbade and Chairman of Regency Alliance Insurance, Mr. Clem Baye. The presence of traditional rulers, including His Royal Majesty, Oba Aderemi Olusegun, and His Royal Majesty, Onile Odua of Yoruba Land, Oba Steve Ajose, underscored the event’s cultural significance.

    The event featured different performances celebrating Nigeria’s rich heritage. Poet IB Quake delivered a stirring piece on the intersection of art and technology in Lagos. The Afri Amaka Arts Group thrilled the audience with a cultural dance, while Wura Samba’s drumming performance emphasised the rhythmic heartbeat of Lagos’s artistic scene.

    Read Also: PROFILE: Meet new Rivers Sole Administrator Vice Admiral Ibas

    In a goodwill message, Acting Public Affairs Officer of the U.S. Consulate, Amanda Roach Brown highlighted the significance of the event, especially as it coincided with Black History Month. She commended Lagos for fostering an environment where art and culture thrive. The event also served as a platform to spotlight key cultural destinations in Lagos, including Terra Kulture, Lekki Conservation Centre, and the newly commissioned J. Randle Centre for History and Yoruba Culture. Also spotlighted were notable projects under the leadership of Governor Babajide Sanwo-Olu such as the Lagos State Creative Industry Initiative, launch of the Lagos Culture Commission and the Lagos Creative Vault Initiative that position Lagos as a hub for arts and entertainment.

    Special Adviser to the Lagos State Governor on Tourism, Arts and Culture, Mr Idris Aregbe reaffirmed the state’s commitment to positioning Lagos as a cultural and entertainment hub, emphasizing the need for year-round artistic engagement rather than limiting activities to festive seasons.

    The event rounded off with an exhibition tour led by Mama Nike, where guests savoured works by emerging and established visual artists. This further cemented Lagos’s reputation as a cultural melting pot, where tradition and contemporary creativity co-exist seamlessly.

  • ‘Thespians must keep pace with technology’

    ‘Thespians must keep pace with technology’

    The battle for control remains till this day as new platforms of exploitation keep emerging and the law is trudging behind technology. How do we respond and reposition the rights of performers to benefit from the new technologies with models that guarantee sustainable coexistence, profitable business and the continued relevance of performances as a vehicle for the transmission of culture, social harmony and economic prosperity. Yesterday, it was the VHS; today it is streaming, social media and the manipulative power of Artificial Intelligence.”

    With that advice, the Director General, Nigerian Copyright Commission (NCC) Dr. John Asein charged the Nigerian theatre practitioners to be well-versed in the legal mechanism that protects them and their performing rights. He urged the practitioners to understand the strategic importance of intellectual property, particularly copyright and how to navigate the intersection.

    Dr Asein who spoke at the NANTAP National Delegates Convention, in Lagos said that as theatre practitioners, ‘we often use others’ works as we create our own. Our works are wrapped in creativity and as creators we deserve to enjoy the fruits of our labour. But, in a rapidly evolving world, it is imperative that we are not only skilled in our craft but also well-versed in the legal mechanism that protects us and our rights.’ The theme for the five-day convention, which opened at Glover Memorial Hall, Lagos last week was Theatre, Politics and National Development.

    Read Also; ​TIMELINE of Wike-Fubara fight, Rivers political crisis since 2023

    In his keynote titled: Performer’s Rights Under The Nigerian Copyright Act (Light, Camera, Action!) Dr. Asein stated that it is crucial for performing artistes to understand their rights, leverage the protection that intellectual property offers, and be proactive in managing their works in the digital age. By doing so, he said, practitioners can ensure that their creativity continues to thrive while being properly compensated and respected on both local and global stages.

    He noted that the intersection between intellectual property and the performing arts is dynamic and multifaceted, and as such, as performing artistes create works that resonate with audiences, their intellectual creations must be protected, respected, and compensated.

    According to him, intellectual property, especially copyright law, provides the legal framework that enables performers to maintain control over their creations and benefit from their labor. “With the rise of new digital platforms, collaborations, and globalized distribution, the intersection of IP and the performing arts will continue to evolve, presenting both opportunities and challenges for artistes. I have deliberately limited my thoughts to copyright but there are other aspects of intellectual property that should be of interest to the performer. Branding, image rights and use of likeness, styles and plots, issues with voice overs, adaptations, etc. The law cannot provide exclusive rights in all these cases but there is need to continue the conversation and identify the gaps that need to be addressed and how best to do so,” he added.

    He identified new areas NCC will be ready to partner NANTAP, which include strengthening performer’s rights protection, identifying gaps in the value chain and address them through administrative and legislative actions; exploring genuine solutions for areas outside copyright’s scope, developing strategies for copyright education and training for service providers and Theatre Arts Departments in our schools, addressing emerging trends and create legal frameworks to safeguard performers in the digital age, creating a more constructive role for theatre practitioners within the copyright ecosystem, activating the provisions on the protection of expressions of folklore and working together to ensure the protection and growth of our creative industry.

    “There is a need to address emerging trends and create legal frameworks to safeguard performers in the digital age, create a more constructive role for theatre practitioners within the copyright ecosystem.

    The team will also look at activating the provisions on the protection of expressions of folklore and work together to ensure the protection and growth of our creative industry,” he said.

    Dr Asein noted that with the rise of new digital platforms, collaborations, and globalised distribution, the intersection of intellectual property and performing arts would continue to evolve, presenting both opportunities and challenges for artistes. He added that as part of the call to action, the commission would develop the outcome of the session into a publication on Copyright and Theatre Arts. This, he said, would be a tribute to two Nigerians who greatly influenced the emergence of performer’s rights in Nigeria. “These are Dr. Sylvester Agbaje-Williams, a theatre enthusiast and key contributor to our modern copyright system; and Chief Hubert Ogunde, the doyen of Nigerian theatre, who advocated the inclusion of performers’ rights in the Copyright Act in 1988,” he added. 

    In his remark, NANTAP President, Mr Israel Eboh said that from the dawn of civilization, theatre has held up a mirror to society, chronicling its struggles, triumphs, and aspirations. He added that theatre has shaped ideologies, questioned power structures, and fueled revolutions. “Whether in ancient Greece, where drama was a tool for civic engagement, or in contemporary Nigeria, where theatre continues to challenge and inspire, our craft has always been at the forefront of shaping discourse…While we celebrate how far we have come, we must also recognize that the journey is far from over. The future of Nigerian theatre is bright, but its continued growth demands our collective effort, dedication, and resilience,” he added.

    According to him, this is the time for NANTAP and NCC to work together in view of the need to create awareness on the existing laws.

    “We have the human resources. You have the technical requirements. I think the problem with practitioners has to do with intellectual laziness. It is unfortunate. How much of the laws we know do we apply to the work we do? We need a change,” he said.

    The conference also witnessed panel session featuring Director, NCC Lagos Office Mrs Lynda Alphaeus, Professor of Law, Babcock University,  Prof Dorcas Odunaike, Mrs Ugo Obiayo, and …..

    Mrs Alphaeus said the present copyright law could compete favourably with world practises but unfortunately artistes had failed to internalise the content for their use. She advised the artistes to take their time to read and understand the laws to be able to apply it.

     “The 2022 Copyright law has made provision for the protection of works on the social media space. It allows NCC to set up dispute resolution panels to resolve copyright infringement cases. The new copyright laws now allows artistes to register their works with NCC to tackle issues of ownership, this will ensure further protection of individuals’ intellectual works,” she said. Prof. Odunaike stressed the need for Nigerians to be reorientated on every aspect of the Copyright laws.

  • Snappcode of Africa empowers young creatives through ‘The Light You Carry’

    Snappcode of Africa empowers young creatives through ‘The Light You Carry’

    Through his SnappCode Academy, photographer and filmmaker Ifeoluwa Babalola, popularly known as Snappcode of Africa, is making significant contributions to the Nigerian creative industry by providing aspiring photographers and videographers with professional training and mentorship.

    His latest initiative, “The Light You Carry,” a two-week intensive training program on photography and videography, which began on March 3rd, officially concludes today, March 15th, 2025. The program featured some of the industry’s best minds, including Kola Oshalusi, Dax, Victor Adesewa, Dave Elvis, Nnanna Ali, Sunky O, Teminikan, Ifan, and others, who shared their expertise with participants.

    For Babalola, the initiative goes beyond skill acquisition—it is a way of giving back and creating opportunities for the next generation of creatives. Reflecting on his journey, he shared, “When I was coming up, I didn’t have mentors to show us the way. That’s why I came up with this initiative, which is more or less free. The funds we raise from these sessions go towards our foundation, which focuses on sponsoring children’s education and community projects like boreholes.”

    His foundation has ambitious philanthropic goals: to build 100 boreholes in five years and send at least 10,000 children to school in the next decade. Since launching the borehole project last year, they have successfully completed one in Atan, Ogun State, with the next target set for Makoko in Lagos, and expansion plans for other states.

    Babalola’s dedication to charity stems from his personal experience. “Growing up, my family had money until we didn’t anymore, but my parents wanted me to continue receiving a quality education. In my final year of secondary school, the owner of my school wrote off my fees. From that moment, I promised God and myself that when I have money, I will give back. Every year, I dedicate 30% of my earnings to charity,” he revealed.

    With The Light You Carry now concluded, Babalola continues to bridge the gap between creative education and social impact, ensuring that aspiring photographers and videographers not only acquire skills but also benefit from an ecosystem of empowerment and mentorship.

    He also called on sponsors and organizations to support the initiative, emphasizing that many talented young people need opportunities. “There are so many people in need, and we are here to help on behalf of those who want to give but don’t know how,” he stated.

  • Insight Publicis announces resignation from Airtel Nigeria account

    Insight Publicis announces resignation from Airtel Nigeria account

    Insight Publicis, one of Nigeria’s leading integrated marketing communications agencies, has announced its decision to resign from the Airtel Nigeria account, effective immediately.

    This decision follows an extensive evaluation of the engagement, during which both parties were unable to reach an agreement on terms that appropriately reflect the scope of work and the value Insight Publicis brings to the partnership. While both organizations hold each other in high regard, the agency remains committed to engagements that align with its strategic priorities and industry benchmarks.

    “Our commitment to excellence necessitates that we engage in partnerships where there is mutual alignment on value creation and strategic objectives,” said Dolapo Ogunbambo, Chief Operating Officer of Insight Publicis. “We have valued our association with Airtel Nigeria and wish them continued success in their future endeavors.”

    Insight Publicis will ensure a seamless transition and remain focused on delivering exceptional marketing solutions to its diverse clientele across various industries.

    Founded in 1979, Insight Publicis is a pioneer in Nigeria’s marketing communications landscape, offering a full suite of services, including brand strategy, multimedia creative solutions, digital marketing, and consultancy. As part of the global Publicis Groupe, Insight Publicis combines deep local expertise with international insights to drive impactful brand storytelling and business growth.

  • The maestro and his melodies

    The maestro and his melodies

    Artiste:  Biodun Adeniyi                     

    Album: FROM THE MUSICAL ORUNMILA

    Genre:  Folk/Highlife

    Reviewer: Olaitan Ganiy

    A thunderous procession of rhythm and wisdom, From the Musical Orunmila, is an odyssey through time, where United Kingdom (UK) based Biodun Adeniyi channels the ethereal essence of Orunmila—the Yoruba deity of wisdom—to produce an album that resonates with poetry and humane musicality. Adeniyi’s work unfolds as a sonic scripture of ancestral warnings for a generation teetering on the precipice of moral erosion.

    With masterful instrumentation and searing lyricism, the artiste invokes the Yoruba musical tradition in its rawest and most revelatory form. To listen to this opus is to step into a time machine whose gears are oiled by inherited wisdom. Each note resounds like an incantation, invoking the spirits of Yoruba griots who once told cautionary tales beneath moonlit skies – moralising the innate nature of a people grappling with greed, lost virtues, and identity crisis.

    Adeniyi intones the artistry and timeless wisdom of his forebears. Nowhere is this more evident than in ‘Iyaniwura,’ a song as tender as a mother’s embrace. The refrain, “Olope ni mi mo fe ki yeye mi, e se mo’dupe Iya to wo mi dagba”, loops like a threnody and tribute all at once, invoking reflection upon the selflessness often taken for granted.

    Yet, Adeniyi is not merely a praise-singer; he is a satirical observer, wielding his lyrics like a scalpel to dissect contemporary ills. ‘Ogun Iwoyi’ is a study in moral recklessness, its Yoruba folk opening—“O digbo Efon, o digbo Erin, Agbamurere”—a haunting eulogy to a generation untethered from ancestral wisdom. In ‘Iriri Abuja,’ he turns his gaze to modern-day mademoiselles who masquerade as paragons of virtue by day while engaging in nocturnal trysts. His words sting with unvarnished truth: “In daylight, they pretend to be housewives, but they are oloshos who parade the streets at night.” The simplicity of the arrangement betrays the gravity of the message, seeping into the consciousness like a slow, unrelenting admonition.

    Read Also: I won’t stop Rivers Assembly from performing constitutional duties – Wike

    As one who straddles the worlds of journalism, music, and theatre, Adeniyi’s storytelling is both vivid and unrelenting. A former Energy and Environment Editor for The News magazine, a seasoned satirist, and a laureate of the American Poetry Society’s competition, his pen is as sharp as his voice. His time in the dramatic arts, particularly as the founder of Itu Meje (Seven Wonders), has imbued his music with a theatrical richness. This dramatic flair is evident in ‘Gbadebo Okukenu The 4th,’ where he dons the robes of a praise-poet, eulogizing the Alake of Egbaland, Oba Adedotun Aremu Gbadebo. The track resonates as poetry with rhythm, its Egba dialect weaving a sonic reverence fit for kings. In ‘Akinolu Oba Eko,’ he channels the grandeur of Lagos, extolling Oba Rilwan Akinolu with the same vigor exuded by the musical greats.

    Beneath his artistry, however, subsists a keen moral compass. ‘Afiyen Oo’ is a scathing exposé of sexual predation in Nigerian schools. With brutal honesty, he recounts a teacher’s betrayal of his pupil: “Do you remember when you asked me to come and prepare you a meal? You then locked me inside…” This is not just a song; it is an indictment, a wailing lament for innocence lost and justice perpetually deferred.

    Adeniyi’s prowess is “influenced by the greats—Fela Anikulapo Kuti, Herbert Ogunde, and Uncle Tunji Oyelana.” Yet, he remains distinct, refusing to be swallowed by the tide of commercialized debauchery that plagues modern music. “Most of the music we publish these days revolve around love and sex… in fact, I would add, debauchery,” he mused, rejecting the notion of ‘art for art’s sake.’ Instead, he advances art with purpose. “As for me, there’s method in madness,” he said, stressing that artistic “madness” must be didactic – a voice unafraid to both celebrate and condemn.

    Adeniyi’s brilliance resonates in his craftsmanship, his ability to weave together the elemental sounds of Africa—the brassy exuberance of the saxophone, the pulsating heartbeat of the talking drum, and the delicate eloquence of Yoruba folklore into a melody that bridges epochs. A peep into the artiste’s roots reveals his early dalliance with music. From the pews of the Trinity Anglican Church in Ilasamaja, Mushin, Lagos, where he once lifted his voice in soprano, to the pop bands of Palmgroove in the late ’70s, his artistry was nurtured quiet early in life. His mother, a Princess of Royal Gbadebo Clan of Egba-Alake, Late Mutiat Asabi Ajibike-Tella, a cousin of the legendary Apala maestro, Ayinla Omowura, was herself a folk singer, and in her, he found his earliest muse. Music, for him, has never been about fame or fortune; it is an unbroken heirloom, a calling that defies material pursuit, he said. Thus From the Musical Orunmila is a moral compass set to melody, a time capsule that preserves and critiques in equal measure. Adeniyi emerges not just as a musician, but as a historian, a philosopher, and a guardian of Yoruba folklore.

  • Mabel Segun’s last interview with The Nation: “…What is killing us in Nigeria”

    Mabel Segun’s last interview with The Nation: “…What is killing us in Nigeria”

    Mabel Dorothy Segun is 90. At 90, she was still very vocal. Born in 1930 in Ondo town, Ondo state, she comes from a literary family of Sabongida Ora in Edo State. Her father, Reverend Isaiah Aigbovbioise Imoukhuede (Aig-Imoukhuede), wrote the first Ora Primer and more. Regarded as a doyen of Nigerian Literature, she is a versatile woman whose outstanding achievements in the fields of literature, broadcasting and sports have won her local and international recognition. In this last interview EVELYN OSAGIE had with her, the doyen of children literature recounts her voyage into the world of writing and more.

    Clocking 90

    I feel okay except that a few days ago I ate something that disagreed with me and I thought I was going to die before my birthday. But at 90, retirement to be precise is when you are free to write whatever you like.

    I decided that as soon as I retired from the Civil Service, that I would spend my time writing. Unless you overdo it, writing doesn’t kill you. You should not stress yourself in order to please people.

    So, that has been my attitude. And I have done a lot of writing after I retired. And I have enjoyed myself thoroughly writing what I like – not writing to please anybody but myself.

    When you are 90, the only thing needed is discipline. You must have discipline. Some feel they should answer every call: people would always ask you to do this and do that because you have done that in the past.

    But when you are growing old, you would have to say, ‘No’, to those things otherwise you would just drop dead.

    My writing in recent years

    If I don’t write, I won’t be alive, I still write. But it is painful when what you wanted to do is being interrupted so many times. It’s this humor and satire in Nigerian literature In recent times, I have dealt mostly with unfinished work or revision. I like to revise my work all the time so that it can be as near perfect as possible. I don’t like things that are not well done. I am translating a story by Femi Jeboda, entitled: Olowo Laye Mo. I finished writing it, gave it to some people to read and they have pointed out one or two errors, but I am reading through the whole thing again.

    Read Also: Presidency: Tinubu not worried about 2027, focused on economy

    Sometimes, some books take a long time to produce, like my cultural cookery book that took me 18 years to produce. I have unfinished works and hope I can finish them before I go. I am working on finishing my book on humor and satire of Nigeria literature.

    The feeling of being writer at 90 

    Looking back, I feel fulfilled as a writer. I have written for children. And I have written poetry. Right now somebody is doing a PhD on my early poetry. I wrote poetry, and later I got diverted to children’s books because I wanted to raise the genre. I felt that it was a neglected genre. It’s gone down again. People can’t write for children anymore.

    Children don’t even read anymore. Omowunmi is trying to take over to see what can be done about it. People don’t seem to know how important children’s books are except the Association of Nigerian Authors (ANA). ANA has been awake to the importance of children’s literature.

    In this country, people think they don’t have to bother with it. So those who are not qualified are writing for children, in that some of them don’t even have the experience of children or talk to children. The reason you’d find that Cyprian Ekwensi, for example, could write for children was that he could talk to children. I remember when we were at Nairobi airport; there was a child of three running around the place. And when he got near Cyprian, he called him and they started chatting with each other. And I thought no wonder he could write for children. But tell my honorable Wole Soyinka to try talking to a child or writing for children… (Laughs.)

     Books closest to my heart

    Well, I have enjoyed writing everything.

    Challenges of writing children’s books/On writing for children

    Some think children’s literature is easy to write. They don’t know it’s more difficult than adult literature. This is because you have to go into their minds. To write for children, you have to write for different ages and that’s why it’s difficult. You have to study their psychology. Some write as if children are measured with one flat stick.

    For example, I can’t write for teenagers because I don’t know them or what they think about. You have to study the different ages of children. You have to know the children, what they consider important and what’s on their minds. You also have to find out their attention span.

    Being a writer in my days

    It was easy in those days to get your book published. Now, most people are self-publishing. I don’t think that’s good enough. It’s not encouraging at all. Why should you spend your money? In those days, African University Press (AUP) published my books, such as “My father’s daughter,” which became what most young people read.

    It was easy for us to write because the teachers we had were people who influenced us and our childhood. They had deep feelings about writing. For example, I became interested in poetry because there was one teacher we had, Ms. Ore Cole, who made poetry come alive so much.

    She read a poem to us, “Sea Fever”, that talks about the sea and how it felt to be on a boat on the sea. It influenced me a lot that I wanted to become a sailor. We could see the lagoon and the ships on the sea. The poem really appealed to me. That is how a good teacher can influence you. I never forgot her all my life. That is why I have always advocated that the role of the teachers in education cannot be overemphasised. They are influencers.

     Conducive environment for writers – then versus now

    Creating a good environment for people, who want to be creative, like writers, also has an impact on education. We are living in a most unnatural condition. In the old days, we used lamps; but those were in the early years of the country. And nowadays there is no excuse at all. But we have gone back to it.  In fact, I was telling my daughter that I wished we had not given away our oil lamps. We gave them away because they were taking up space.

  • Art of mangroves berths in Lagos

    Art of mangroves berths in Lagos

    The title of the exhibition is apt.  It is the intersecting of worlds of climate change – the mangroves and art.  It is ongoing at the West Tower, Victoria Island, Lagos.  And it involves Oriiz Onuwaje, the curator, and Dr. John Ed DeBebs, the exhibiting artist.  Among the supporters are the National Gallery of Art, National Council on Climate Change and others.  Olu of Warri was the special guest of honour when the exhibition opened in Lagos last week.  Edozie Udeze was there.

    The need to preserve and conserve the ecosystem has always been the utmost concern of those who love to promote good environment.  In the Niger Delta areas of Nigeria, the rate of pollution, environmental degradation and so on, has been going on for a long time.  Niger Deltans have cried,  screamed, begged and tried to reach out to those who feel with them to come to their aid.  There are many ways however, to draw attention to these ugly situations in the Niger Delta.  One of them is through the art, hence the mangroves art show.

    Over the years, artists have used their brushes and canvasses to demonstrate their interest in ensuring that the ecosystem in the Niger Delta is preserved.  In fact, as more literary offerings are emerging out of the Niger Delta experience so also do art works in all genres.  This is what is clearly demonstrated in an ongoing art exhibition aptly titled the intersecting worlds of climate change, the mangroves and art.  The art exhibition opened at West Tower, the Wings office complex, Victoria Island, Lagos last week.  It will end on March 18 and it is being supported by the National Gallery of Art, National Council on Climate Change and others.  The opening ceremony was also graced by his majesty, the Olu of Warri who came with his large entourage from the Delta.  His presence ignited the arena during which almost all the guests present rose to show their respect to him.

    While taking guests and journalists round the exhibition hall, the curator, Oriiz Onuwaje, a seasoned visual artists and also an Itshekiri from Delta State was excited about the exhibition.  He demonstrated how the mangrove plants and their roots have helped over the years to sustain the ecosystem.  The mangrove forests of the Niger Delta, in his own words, ranks as the third largest in the world.  And the roots help to absorb excessive waters and further save the system from undue flooding and so on.  This is why the mangroves have to be preserved, nurtured and be allowed to be for the sake of the ecosystem and the people who live in the areas.

    The artworks came in two forms.  Some are life photos taken by Onuwaje himself while majority of the paintings are done by the exhibiting artist called John Ed DeBebs.  DeBebs is a first class master artist who taught at the Auchi Polytechnic, Edo State, for years before going into private practice.  But after an unforgettable incident and an encounter with Christ, he went into pastoral work.  So for over 25 years, he was missing in the art sector, only concentrating on his mission to win souls for Christ.  However, this project brought him out into limelight because the Niger Deltans needed him once more to deploy and display his high class artistry in this regard.

    Read Also: I won’t stop Rivers Assembly from performing constitutional duties – Wike

    The paintings are clear and imposing.  All aspects of the creeks, the depletion of the earth, the polluted waters, the conditions of the forests, the environmental conditions and so on are replicated on canvasses.  Not only that the canvasses are giant in size, they display to the core the remotest concerns and aspects of the jungles.  DeBebs did not spare sentiments.  He is deep, he used water colours and in some instances acrylic to bring out the harrowing nature of the environment.  The mangrove forests hang out there on precarious wings of nature.  The roots spring out from the stems of the plants and going back straight into the soil. They display some of the greatest wonders of nature.  The roots hang out with force of nature.  As they grow back into the soil, they also fortify the strength of the plants.  At the same time they absorb waters in large volumes.  In all, the roots contribute immensely to the reduction of excessive water in the creeks and other suburbs.

    So the works were done essentially to show the importance of the plants in the quest to keep the environment healthy.  It amounts to stark wickedness for anyone to tamper with the shrubs, more so, the mangrove plants and forests.  It is for this reason that all the works concentrated on this thereby showing the mangroves in different positions, locations, sizes and terrains.  It is from the works, one can see how deep both Onuwaje and DeBebs went into the foyers of the creeks to produce these spectacular and amazing works that have given the world a deeper peep into the conditions in the ecosystem. Ditto the Niger Delta.

    Onuwaje further explained, “this show is to further show the conditions of the ecosystem, the environmental degradation and so on in the Niger Delta.  It shows how the mangroves thrive in such rugged environment.  This is like the first time we are having one subject, one artist on the mangroves of the Niger Delta.  Everything we have heard about the Niger Delta  before now was about trouble – pipe line rupture, oil spill, environmental degradation and all that.  All of that contribute to the beauty of Niger Delta, to the Niger Delta  environment.  We are not saying those issues do not exist.  What we are saying is that even in that disaster that we live in there is beauty there” he said.

    So the mangroves exhibition as good as it looked is to celebrate the Niger Delta environment in its epitome, in its totality.  “You can then see and feel the beauty of the mangrove forests.  They add a lot of beauty to what makes the creeks what they are.  We need to bring all that to the knowledge of the world.  The world need to pay attention to these and other issues that the Niger Delta people live with from time to time.  We therefore need to protect them.  We need to conserve the mangroves.  We need also to regenerate the mangroves.  This is one of the befitting ways to get the people who have ears to listen”.

    In his own statement while touring the hall and showing his works, DeBebs noted that it took him extra efforts to paint the works.  He pointed out that some of the pictures with which he did his paintings were provided by Onuwaje.  In it all, some of the painted works appeared more remarkable and real than the pictures.  DeBebs said: “I was out of touch with the visual art circle for years. For many years, I did not exhibit any works.  I concentrated on my mission to win souls for Christ.  An encounter I had about 25 years ago changed my perception about life totally.  Some of the works here I did myself when I went to the creeks.  The essence of all this is to project the importance of mangroves.  They need to be cherished and preserved to save the ecosystem”, DeBebs said.

    He went on: “It shows the water system.  It shows how the plants survive in the rugged environment.  The beauty of what happened to me is that until a man comes to know Jesus Christ, whatever he is doing is meaningless.  Until that encounter with Christ in Lagos, I was not a Christian.  Thereafter I realised that everything I had was a gift from God.  Even the artistic gift I have is for His Glory.  So, I had that divine call to serve God.  He then sent me to Bayelsa to serve Him to the fullest.  I left everything to serve Him.  There in Bayelsa I stayed to work for God.”

    In the meantime, he suspended his professional career of painting.  “Yes, I suspended art.  At that time I left painting to pay attention to my Maker.  I planted a church there.  But three years ago, I began to return back to the brushes to paint once more.  It was then that my friend Oriiz came with the idea of this project.  Eventually it coincided with the completion of my studios because I knew I would come back to painting.  It is my God given talent”.

    On display were over thirty of his works.  But in them all DeBebs showed a mastery which is rare to find in the works of most painters in Nigeria.  He is far ahead of others in terms of his mastery of form, images and landscapes.  He comes in a way to show that truly that the unseen hands of the Almighty is heavy upon his works and how he delivers them.  “The paintings are on the mangroves and the role they play in the ecosystem”, he said.

    In his own statement, the Director General of National Gallery of Art, Bashir Sodangi made it clear that the essence of the show is to further help to preserve the vegetations that help the existence of the Niger Delta.  He said “Let these images of winding roots, flowing waters and vibrant landscapes prompt you to reflect (of all of us) on our attitude to nature, the way we treat the environment”.  He described it as the low tide is the mangrove breath, a moment of rest before the ocean’s return.  With a deep reflection on the importance of the show, Sodanji commended the curator Oriiz Onuwaje and the artist, John Ed DeBebs for their efforts that have led to this wonderful outing.  It is time therefore to celebrate the beauty of art and nature and a world that is intricately woven into many canvasses, photographs and the like.  It is upon all these that the whole essence of art is celebrated and made known to the world.  The National Gallery of Art is however the foremost custodians of contemporary art pieces in Nigeria.  This is a mandate the Gallery has had to contend with time and time again.

  • Africa’s artistic future takes centre stage at ‘Artists Connect Africa’

    Africa’s artistic future takes centre stage at ‘Artists Connect Africa’

    In pursuit of regional growth,   ‘Artists Connect Africa‘, a platform designed to empower emerging and established artists will be converging talents across the region towards sector’s development. 

    The programme  billed for March 15 at Nordic Hotel, Lagos is organised by renowned artists Ken Nwadiogbu, Dr. Gbadamosi Adefemi FolaDavid, and the Frot Foundation,  in collaboration with Chivas Regal, and, tagged”The Chivas Regal Experience’

    The organisers, in a statement, said the initiative seeks to foster artistic excellence, cultural exchange and professional development through a dynamic mix of art exhibitions, panel discussions, keynote speeches, and networking opportunities.

    “The event will offer a platform for professional development through art exhibitions, panel discussions, and keynote speeches, featuring insights from industry leaders. 

    “As highlight of the event is a fully funded art residencies at EVVDEE Art Academy for 15 selected artists, whose selection will be assessed by competent judges including Jess Castellote, Director of the Yemisi Shyllon Museum of Art at Pan-Atlantic University; Olufemi Oguntamu, Talent Manager / Media Strategist; and Dotun Popoola, Metal Sculptor/ Founder of the ScrapArt Museum, among other distinguished professionals.

    Read Also: NiMet alerts Nigerians on outbreak of meningitis 

     “Speakers, including Special Assistant to President on Arts, Culture, and the Creative Economy, Ayo Adeagbo,  Special Adviser to the Lagos State Governor on Arts, Culture, and Tourism, Idris Aregbe, and visual artist, Victor Ehikhamenor will be addressing critical aspects of the African art market, including creative entrepreneurship and future industry trends”, the statement added. 

    “The programme is a transformative platform aimed at empowering African artists by providing them with global exposure, professional development, and networking opportunities . This initiative will not only celebrate African artistry but also foster long-term collaborations that will shape the future of the industry,”  Foladavid stated. 

    The event promises to be a fusion of culture, creativity, and sophistication, offering artists and attendees an unforgettable experience that goes beyond the exhibition space.