The National Gallery of Art in collaboration with the National Council on Climate Change and Alzarin Crimson proudly announce the hosting of an exhibition titled “INTERSECTING THE WORLDS OF CLIMATE CHANGE, THE MANGROVE AND ART.
This event which comes up at the West Towers, The wings office Complex, 17a Ozumba Mbadiwe Street, Victoria Island, Lagos, from the 5th – 18th of March 2025 will showcase master paintings, drawings and watercolour of quintessential artist Dr. John Ed DeBebs and curated by renowned Oriz U. Onumaje.
The exhibition is an artistic expression and potent instrument that aims to raising awareness, Foster emotional connections and inspire action on climate change and its impact on the environment. While mangroves provide habitat for thousands of species at all levels of marine and forest and are highly efficient in storing carbon, it is imperative that urgent steps are taken to preserve this natural heritage
In a statement signed by the Director General of National Gallery, Ahmed Sodangi he said that this collaboration is one of several initiatives embarked upon by National Gallery of Art towards ensuring the appreciation of Art as stipulated in it’s mandate.
Miabo Enyadike has been consistent in her avowed love to take her international festival to the highest height. Tagged Artmiabo International Art Festival, this year Miabo will host many artists, local and international in what is themed Artconomy: Redefining the Global Art Experience. In a press briefing last week, Miabo said that this year’s festival will take artists to the next level in their quest to use art to make money. Edozie Udeze reports.
From 29th April to 1st of May, the Artmiabo International Art Festival will hold in Lagos. Being the 4th of the annual festival of arts, the venue for this year’s celebration will be at the famous Admiralty Conference Centre, Ahmadu Bello Way, Lagos. According to the host of the festival Miabo Enyadike, the theme of the festival for this year is Artconomy: Redefining the Global Art Experience. At a press conference last week, in Lagos Miabo herself, a seasoned visual artist, stated that this 4th edition will concentrate on how to encourage artists to key into the workings of art economy to improve their craft and gain recognition as well as prosper on their profession.
Art, she noted is universal and can be used to enrich practitioner as well empower those involved in the practice. She noted that time has passed when artists shied away from utilizing the opportunity offered them to make ends meet. As the 4th edition of this laudable global programme draws near, Miabo is prepared to give more space to other aspects of the art. These include music, fashion and others. She still believes that there is always room for all artists to blend together in order to give one voice to their needs.
“Yes, we will absorb music. There is also room for fashion and artists will come from all over the world for this three days remarkable festival tagged artconomy. It is time for arts to feel the pulse of the economy and artists have to be part of it.” Miabo and most of her crowd believe in waste to wealth. For her there is no waste in the world. This is why herself and almost all the artists involved with her resort to turning wastes to wealth. She often says that it is usually good to turn waste to wealth by creating a good art out of it.
The last three editions witnessed plenty of rich arts done out of wastes. And the glow wastes gave to those works were truly unfathomable. This year, arts will glow also, and artists will bring works done out of wastes. Artists will come from South Africa, UK, America, India and some African countries. Among her team this year are Yusuf Durodola who is the curator, Dr. Festus Adeyemi who is a teacher of Fine Arts and Uche Agu, the marketer. Miabo promised to do her best to ensure that visual arts speaks for itself. Artists, she observed are too difficult to handle but that they must learn how to key into a plausible situation to advance professionally.
“She said more”: ArtMiabo 2025 isn’t just a festival, it’s a living, breathing masterpiece in motion.
A major highlight this year is an exclusive children’s art program, where 10–15 young artists will receive a stipend and hands-on training in immersive workshops, curated by Yusuf Durodola and his team. The goal is to nurture the next generation of artistic visionaries.
The festival will take place at the Admiralty Conference Center, a venue known for hosting cultural and creative events.
While some international artists may not be physically present due to travel constraints, their works will be exhibited, ensuring a global artistic presence.
ArtMiabo Festival 2025 will span three days. However, with its growing scale and diverse activities, there’s a growing conversation around extending the duration in future editions for a more immersive experience.
According to the founder, Mrs. Miabo Enyadike, art isn’t just for galleries. It’s for the streets, the people, and the dreamers who dare to create.
The festival provides a platform for emerging artists, particularly from underserved communities, to showcase their work, gain recognition, and connect with industry professionals.
One standout example is David Ola, who teaches art to children in slums; some of his students will be exhibiting their creations this year.
It’s important to note that the festival thrives on collaboration, not competition. With sponsorship from major brands like DSTV, Multichoice Nigeria and JCDecaux and Ebony Life Studio, along with increasing media support, ArtMiabo continues to grow, offering artists opportunities for exposure, networking, and even commissions.
Additionally, this year marks a deeper engagement with academic institutions, bridging the gap between artistic creativity and structured learning.
Beyond the Festival, the bigger picture of ArtMiabo isn’t just exhibitions, it’s a movement.
By connecting art to the economy, the festival reinforces the financial and societal value of artistic expression.
Artists aren’t just creators; they’re contributors to economic growth, cultural identity, and social change.
Last year, an emerging artist secured their first international gallery deal. A child from an underserved community picked up a paintbrush and discovered a new world of possibilities. This year, ArtMiabo is ready to change even more lives.
As the festival evolves, so does its impact. With its focus on human-centred storytelling, accessibility, and inclusivity, ArtMiabo is proving that art isn’t just for galleries, it’s for everyone. And this year, the world is watching.
Don’t just watch, be part of the movement. Attend, support, or share ArtMiabo 2025 and help art change lives.
The play is titled Tafawa Balewa Golden Voice of Africa. Written by Ola Awakan and directed by Denja Abdullahi, it was staged at Terra Kulture, Lagos, two weeks ago. In collaboration with the National Troupe of Nigeria, led by Kaltume Bulama Gana, the stage play highlights Balewa, the first Prime Minister of Nigeria, taking into consideration his early life, education and foray into politics. Balewa developed a peculiar voice that made him exceptionally outstanding in his public speeches, hence Golden Voice of Africa. Edozie Udeze watched the play.
It is a stage play titled Tafawa Balewa – Golden Voice of Africa. It was staged in Lagos recently. Written by Ola Awakan, a journalist and playwright, the idea of adapting the play to stage was to demonstrate the place of the late Sir Abubakar Tafawa Balewa in the history of Nigeria. Long before the play was brought to Lagos, it was staged in Abuja to a bigger audience who applauded the importance of the drama and the role Balewa played in the decolonization and emancipation of Africa.
The story opened in retrospect. The stage suddenly opened with Balewa and a white lady, a princess of the British kingdom mounting the stage. Suddenly, the new Nigerian anthem begins to play. It is a sign that Nigeria is about to be given her freedom from England. The union jack is lowered, while the Nigerian green-white-green flag takes the upperhand. As Balewa stands erect on stage adorned in overflowing white attire with white cap, so also the British princess, the stage turns agog. The voice booms. Nigeria is today granted her freedom. It is now a sovereign nation, a nation that is free to be called an independent nation.
The Nigerian flag, fresh and untainted is raised higher than ever, as Balewa takes over the mantle. He is gentle, he is meticulous, wearing a bright smile that defines hope and expectation. While he stands on the stage bestriding the new era that is about to commence, the princess looks askance, somewhat at the union jack as it flows downwards towards mother earth. Then the new Prime Minister, Sir Abubakar Tafawa Balewa intones in his usual efficacious and characteristic voice, “today marks a new dawn in the history of our nation, Nigeria. We have to contend with unity in diversity. Peace will help us to build this new nation called Nigeria as we move forward. Today, we look forward to that peace that will usher in prosperity. It is a new dawn indeed. It is therefore with great joy and honour that I announce to you all that it is our independence. From today, this hour, Nigeria ceases to be an appendage of any foreign nation. Our freedom starts today as Britain hands off and gives us what is ours to manage and administer”.
As he speaks, heralding in his legendary voice that used to pierce the surface of the earth, many excited Nigerians cheered, chorused, cried, clapped and jubilated. Voices of hope boomed from all corners as the stage suddenly assumes a hyper action. People stroll in from all corners to join in the joyous moods. This excites the crowd the more. Women begin to sing praises in honour of Balewa and those who fought to sustain Nigeria while she was explored, exploited and destroyed by Britain.
Balewa looks like a colossus in his frail but elegant poise. He looks left and right and focuses more on the people. He has no prepared paper or speech from which he reads his address. But he is smart, articulate about it, no doubt, because he has a voice that has no comparison, hence the Golden Voice of Africa. “I will give all my service and time to Nigeria. Nigeria is a nation where all of us have the chance to contribute to make it richer and bigger”, he says as the stage suddenly comes alive with dances and songs. The celebration is now full blown. Varieties of songs laced in local songs and praises and dances take over the arena. Then Balewa exits the stage.
Dressed in local costumes and regalia, excited artistes and other Nigerians begin to display their level of happiness. Not only that the excitement is high, immediately Nigerian flag is finally hoisted on a higher platform, it flows higher with those bright colours of richness, hope and abundance. The play immediately witnesses three artistes representing Igbo, Yoruba and Hausa engaging in an argument about the direction Nigeria has to take to douse the angers of the past and move forward trying to manage our differences. This argument started soon after independence and each tribe as represented on stage tears at the heart of the matter. Incidentally, the differences along the line of mistrust and doubts were not resolved before the mantle was handed over to Balewa, and indeed to Nigerian leaders.
As the play comes into total view, the lights move on to the early life of Balewa in his locality in Bauchi. Having been raised almost exclusively by his mother, the young Balewa grew up with plenty of ideals of how to better a society. His immediate society of Bauchi first, then he began to associate with some young boys of same worldview in his locality. Unfortunately that sterner discipline of a father, Balewa’s father, as it were, was not seen in the picture. There was no father figure in the play to see how a father’s discipline shapes the life of a son.
And so his mother takes over his early life education. With a little discipline and pampering here and there, Balewa grows up to fall in love with education. Bauchi and its environs thus became his primary focus and attention. Soon the local authorities noticeD his propensity to knowledge, his zeal to indulge other boys in his avowed love to carve a new role for the people of his own generation. The outlook is to propel a new Nigerian society where the status quo can be made useless. The new boys in town must work to bring in new and fresh and workable ideas for Nigeria. Those were his thinking along with his group of idealistic friends when the native authorities discovered him.
In school, Balewa is studious. He is almost a loner, taking his lessons more seriously. This delights his mother, who pumps more money, more time into his education. It must be noted that as a young boy, Balewa was gifted with this wonderful golden voice. Once he observed that it was a rare gift, he started to perfect it. On stage, in school, in social gatherings, he uses it to attract people to himself. Soon, his voice becomes his foremost selling point. A booming voice that sends his words far into space, he also develops his elocution far above what Britain itself could contend with. Even then, his voice sounds like the voice of an oracle, that the colonial masters did not understand how a mere school teacher could sound so British, so resounding in his speech. So, he suddenly becomes an enigma, a man with an impeccable voice that stirs a soul. Indeed, he is the golden voice of Africa.
Balewa is primarily a family man. First and foremost as he keeps repeating, “I am first a family man. I love my family, first before I love the larger society”. This is his mantra. But on stage, when he finally takes over Nigeria, that mantra haunted him. Nigeria suddenly becomes more than a family for him to manage. It is observed from the stage that that narrow-mindedness of family before nation did not depart from him. Or he did not try to disengage himself from that attachment. Thus that goes to demonstrate why the bigger Nigerian project suddenly becomes too big for him to manage.
As the Bauchi local authorities picked him from the school where he taught to national limelight, Balewa immediately enlarged his political horizon to include friendship with people like the late Aminu Kano and others to champion the emancipation of the North and later the whole of Nigeria. Thus the play takes on a large coverage as more dancers, singers and drummers take on the message through dances and songs. Initially Balewa’s attention was to liberate Bauchi from the clutches of backwardness. His dream was local and abridged. But with the promptings of the Bauchi Native Authority, his horizon rose a bit higher to include parts of the North. The play limits him somewhat in order not to announce some of the loopholes in the preparation towards a bigger responsibility as Nigeria’s PM.
To make it stick, Husayn Zaguru that plays the role of Balewa on stage is classical. His role is clear and he represents Balewa as he fits fully into the character. He is tall, frail looking, black, and impeccable in his stage carriage. Apart from the absence of the remarkable facial mark on Balewa’s face, Zaguru who is a thorough-bred actor and seasoned artiste, who takes on the role with joyous aplomb. This was why the management of the National Troupe of Nigeria came in handy to collaborate with Awakan to take the play to different places. In her speech, the Artistic Director of the National Troupe of Nigeria in the person of Hajia Kaltume Bulama Gana said, “this is the time to show the place of some prominent Nigerians in the annals of the nation’s history. Balewa came at a time Nigeria needed him to move Nigeria forward. This play is a typical representation of what leaders need to do to advance their society. As the foremost dance troupe of Nigeria and a foremost cultural ambassadors of Nigeria, it is proper that we become a part of this wonderful play”, Bulama said through one of her directors, Oni.
Bulama loves theatre. She does all she can at the slightest opportunity to promote Nigeria’s cultural ideals. Her involvement in the promotion of stage plays and dances that touch on Nigeria’s unity has come to show how stage plays can be used to advance unity and cohesion. Bulama has done well in this regard. However, according to Awakan, the play has been staged in Abuja, the nation’s capital to show that Balewa was a former Prime Minister, indeed the first. He hopes also to take the play to Bauchi very soon. It is the home state of the Balewas and the play will also help to remind them about the role he played for the freedom of Nigeria. Awakan however acknowledged the fact that some deeper aspects of the play were left out for the sake of orderliness in the society.
As Balewa was looking on helplessly the operation wetie in Ibadan commenced. In the midst of this, lives were lost, chaos took over. In the meantime, corruption took over the surface of Nigeria. Then, the soldiers struck. That ends the play on that resounding note. With the booming of gun shots outside the presidential palace, the curtains were drawn on the First Republic. Thus a new era began in Nigeria and that is we are today. Some prominent people turned up to watch the play. Among them were Mr. Sam Omatseye of The Nation Newspapers, Lagos, Saidu Yusuf of Arewa in Agege, Lagos. Omatseye in his remarks noted that it was good to watch a play by Ola Awakan. He commended him for the way he treated the subject and made it a pleasant play on stage. “What he has done is part of history, a subject most students encountered in school. All these happened in the 1960s and we have some of those aspects of history replicated today on stage.
Xceptional media has launched the Miss Blacknificient Teen Pageant (BTP), an inspiring new initiative dedicated to celebrating natural beauty, promoting self-confidence, and equipping young girls with the skills to become future leaders.
Scheduled to take place on July 26, 2025, the pageant is more than a competition—it is a transformative movement advocating for self-acceptance and challenging harmful beauty standards, including the widespread issue of skin bleaching.
Coinciding with International Women’s Day, the launch of Miss Blacknificient Teen Pageant sets the stage for a groundbreaking platform designed to empower teenage girls through mentorship, education, and leadership development.
The initiative aims to redefine conventional beauty standards by instilling confidence in young girls and fostering a culture of self-worth and excellence.
Beyond the glamour of the competition, BTP incorporates a two-day interactive workshop preceding the main event, focusing on critical areas such as self-esteem, career guidance, mental health awareness, nutrition, and personal development.
These workshops will ensure that every participant gains valuable knowledge and skills that extend beyond the pageant, enabling them to become role models in their communities.
“Miss Blacknificient Teen is about more than just a crown. It is about creating a lasting impact. We want young girls to embrace their natural beauty, reject harmful beauty practices, and step into their full potential with confidence and purpose,”said Shola Adebuga, chief empowerment officer of Xceptional media.
To bring this vision to life, Miss Blacknificient Teen Pageant is open to strategic partnerships with organisations and brands that share its mission of promoting self-confidence, mentorship, and cultural pride.
Opportunities exist for collaboration in areas such as workshop sponsorships, mentorship programmes, community outreach, and event logistics.
By supporting this initiative, partners will play an essential role in shaping the future of young girls across Nigeria and beyond.
Miss Blacknificient Teen Pageant invites organisations, media houses, non-profits, and corporate sponsors to join this movement in championing natural beauty and empowering the next generation of confident, self-assured young women.
Osaivbie Izedonmwen, a 10-year-old pupil, on Thursday debuted his first book, ‘Wonders of Me’.
The launch event at the Hapton Preparatory School, Lekki, Lagos, drew notable guests, including the former Lagos Commissioner of Education, Mrs. Folasade Adefisayo, and author, Jude Idada.
Osaivbie’s book is a personal and conversational account of his experiences, interests and passions.
During a fireside chat, Mrs. Adefisayo emphasised the importance of tailored books for individual interests to improve reading culture.
She also stressed the need for quality teacher-pupil interaction and resources for teachers in public schools. “If we get that right, we will get other things right,” Adefisayo said.
Idada highlighted the value of early exposure to technology and targeted programs for a well-rounded education.
Olufunmilayo Eta, the Deputy Head of School, described Osaivbie as ‘a special child fascinated by how books can spark creativity, expand knowledge, and bring people together.’
Eta added: “Osaivbie dreams of a future where everyone has access to quality education and literature, making the world a brighter and more inclusive place.”
Other attendees include parents and pupils from various schools, including the Italian International School.
The 34-page, five chapters book, written in a conversational style, captures Osaivbie’s personal experiences, his love for football, video games, foreign cuisines, discoveries, and the essence of building friendship and showing gratitude.
Filmmaker and storyteller Abigail Opiah is set to release IJGB: The Detty December Story, a groundbreaking documentary offering an exclusive, all-access insight into the vibrant and electric energy of Detty December—Nigeria’s most anticipated holiday season.
From star-studded concerts and extravagant Owambe celebrations to private beach parties and fine dining, IJGB: The Detty December Story captures the cultural phenomenon that has positioned Lagos as a must-visit destination during the Christmas period.
“Nigeria is often misrepresented in global media, and people don’t always see its full potential as a top-tier holiday destination,” said Abigail Opiah, the film’s creator and director. “This documentary is about changing that narrative. By showcasing the magic of Detty December, we aim to boost tourism, attract international visitors, and highlight the economic opportunities that this annual celebration brings to the country.”
With exclusive interviews and footage captured from 2019 to 2024, IJGB: The Detty December Story dives into the experiences of first-time visitors, seasoned Lagosians, and the key players behind Nigeria’s entertainment industry. The film also addresses some of the realities of navigating Lagos during this period, including traffic congestion, airport experiences, and security measures.
“The story had to be told and we felt a responsibility to tell it the right way. In documenting such an iconic season in the year, we couldn’t afford to be inauthentic because Detty December belongs to all Nigerians. We would be caught instantly if we didn’t do the job right,” said Adesola Oni, assistant director and line producer.
The documentary highlights the individuals and industries that fuel this million-dollar seasonal economy, from event organisers and hospitality moguls to nightlife curators and returning Nigerians (I Just Got Back—IJGBs). Key features in the documentary include contributions from DJ Obi, founder of Obi’s House, musician L.A.X., and Nigeria’s biggest food critic Opeyemi Famakin, as well as others.
“Lagos is a haven of cultural energy, joy, and connection, drawing people from across the diaspora to experience the best of Nigeria’s vibrant spirit,” said Bukola Balogun, creatrix and project consultant.
“Detty December is more than just a season – it’s a homecoming, a celebration, and a glimpse into the fullness of life here.”
With an expected release on major streaming platforms, IJGB: The Detty December Story is poised to redefine global perceptions of Nigeria, solidify Lagos as Africa’s entertainment capital, and inspire more Africans in the diaspora to reconnect with their roots.
HIS Royal Majesty Ogiame Atuwatse III, the Olu of Warri Kingdom, has called on leaders in the Niger Delta to rise against the continuous exploitation of the mangroves in the region.
He urged the leaders to establish a framework to protect the mangroves from unchecked exploitation.
Speaking yesterday at the opening of an exhibition, ‘The Intersecting Worlds of Climate Change, The Mangrove and Art’, by John Edwin Debebs in Lagos, the monarch advised the leaders to ensure that any economic benefit derived from the mangrove served the communities in the region first.
He said: “Let us stand proud in the knowledge that our land, our heritage and our future are not for sale.”
The Ahmed Bashir Sodangi-led National Gallery of Art (NGA) is one of the lead sponsors collaborating with Crimson Fussion to organise the exhibition.
He stressed that ‘’if we are not taking care of our land and environment, ultimately we are disappearing.’’
He described the mangrove as the lungs of the people’s heritage that sustained their life.
“They are the lungs of our heritage. They sustain our way of life. They protect our shores. They preserve our identity. And yet, while we have looked upon them for generations, others, from afar, have begun to look at them differently.
“Through satellite images, through the lens of economic speculation, and the intentions of hurting the collective sovereignty of the people of the Niger Delta.
‘’The world now acknowledges what we have always known, that mangroves are among the most efficient carbon sources on this planet,” he noted.
He said the gathering at the exhibition was not only to appreciate the beauty of artistic expression but to confront an issue that was as immediate as it was historical.
Female Artists Association of Nigeria (FEAAN) will hold its annual International Women’s Day exhibition For All Women and Girls at Nike Art Gallery Abuja from March 7 to 9, according to Mrs Chinyere Ibenye, the Southwest Coordinator and Vice President of FEAAN, during a forum at Nike Art Gallery in Lagos recently.
FEAN, which was founded over 20 years ago, emerged as a response to the challenges faced by female artists in the industry. Ibenye said the association was established because, at the time, female artists struggled for recognition, as their works were often overlooked. To address this, one of the early executives brought together a group of women who agreed to form an association to support and promote female artists and their works.
Since its inception, FEAAN has grown significantly, now boasting over 200 members across Nigeria and beyond. The association, initially comprised solely of Nigerian artists, has expanded to include international members, such as Pakistani and Indian female artists, who actively participate in exhibitions.
Ibenye explained that the association’s primary goal is to empower and encourage young, upcoming female artists by providing them with a platform to showcase their talents. “We want to give them a voice and an opportunity to shine,” she stated.
The upcoming International Women’s Day exhibition in Abuja is an annual event organised by FEAAN to celebrate and promote female artists. The event is expected to feature a variety of artworks, including paintings, sculptures, ceramics, textiles, and embroidery. The group exhibition will be curated by Mrs Akande Ngozi Rosemary and will feature 36 artists among them are Adedoyin Adelani, Adiwu Alatu Onkala, Agu Pamela, Aisha Idrisu, Akande Ngozi Resemary, Annastasia Micheal, Bamikole Adeola Blessing, Chidera Confidence Uzoma, Chinwendu Silas, Chinyere Comfort Ejimaja, Vivian Ajodo, Ekene May, Eucharia S.A. Mbashall, Fatima Giwa, Fatima Masaya, Funmibi lyanda, Hafsah Mujeli, Judith Yahaya, Julieth Chinasa Vite and Katurag Chinyio. Others are Khadijah Adeboye, Lillian Chizoba Pilaku, Maryam Maigida, Miracle Ome, Naomi Oyeniyi, Nelly Idagba, Regina Patrick, Sadiq Abimbola Rukayat, Sinda Kwairanga and Zainab Magaji.
This year’s exhibition aligns with the global International Women’s Day theme, “Accelerate Action”, which aims to collectively create a more inclusive world for women. As part of the celebration, Chief Nike Okundaye, the founder of Nike Art Gallery, has also planned a follow-up exhibition in Lagos. This will extend the festivities, bringing together more female artists for a week-long showcase of creativity and talent.
Due to space limitations, the number of artworks that can be displayed in Lagos will be restricted, with artists expected to submit not more than two pieces each. However, in Abuja, where the gallery is larger, there will be room for more works to be exhibited.
Speaking on the exhibition, Ibenye noted that all artistic media would be accommodated. “We have painters, sculptors, ceramic artists, and textile artists among us. Everyone is welcome to showcase their work,” she said.
To manage costs, FEAAN will rely on its in-house curator for organising the exhibition, as hiring an external curator is currently not financially feasible. Ibenye highlighted the importance of securing sponsorships and media publicity to ensure the success of the event.
“We need support, we need visibility, and that is why we are reaching out. This exhibition is a major event for us, and we want it to receive the attention it deserves,” she said.
A brochure detailing the event and the participating artists will be released a week before the exhibition, allowing time for last-minute submissions.
FEAAN continues to be a driving force for female artists in Nigeria and beyond, fostering unity, creativity, and empowerment within the art community. As the association prepares for its 2025 International Women’s Day celebration, it remains committed to its mission of amplifying the voices of female artists and ensuring their contributions are recognized on a national and global scale.
In a bold move to preserve and promote the rich heritage of Yoruba culture, a non-profit, Illuminate Nigeria Development Network (INDN) is raising young documentary filmmakers and media professionals through mentorship, training, and capacity-building programmes.
The fellowship themed, ‘promoting Yoruba identity through documentary’ is a three-month immersive programme designed for final-year students in public universities who aspire to become documentary filmmakers and wish to deepen their understanding of Yoruba culture.
The groundbreaking documentary fellowship, which aimed at engaging participants in authentic storytelling, enriching their knowledge of Yoruba philosophies, governance, and way of life, was recently unveiled for students through its media mentoring initiative(MMi).
According to the fellowship convener, broadcaster and multi-genre media personality,
Anikeade Funke-Treasure, given the intentional focus on Yoruba language and culture, the initiative seeks to preserve cultural pride and foster generational socialisation into the language and traditions. She said: “We cannot sit in criticism and wail about how our young ones do not share our knowledge of language and the nuances of our culture while doing nothing to change the status quo. I listened to the shortlisted student fellows’ pitch their documentary ideas and my heart swelled with pride. I was struck by how articulate the students were and how deeply concerned they were about issues like the state of Yoruba names, the loathing of Oriki, the alienation of our youth from their roots, the celebration of Yoruba fashion, and the desire to elevate our food and meals, among other themes.”
At the project’s unveiling, globally acclaimed filmmaker Tunde Kelani, who gave a keynote address, praised the initiative for its innovative approach to preserving Yoruba culture. He highlighted the importance of storytelling in safeguarding cultural heritage, noting that Yoruba identity is a treasure that has stood the test of time but faces the risk of being forgotten in the face of globalisation. He said: “Yoruba people are known worldwide for their rich culture, profound history, and timeless traditions. However, with globalisation and the increasing influence of modern trends, many aspects of this heritage risk being forgotten or misunderstood. This is where the power of storytelling through documentaries becomes a vital tool.”
While describing documentaries as powerful tools for preserving history, educating others, and celebrating cultural achievements, he encouraged the student fellows to embrace their roles as storytellers, urging them to use their smartphones to document festivals, interview elders, and create videos about traditional Yoruba music, food, and art.
Kelani challenged the student fellows to see themselves as the storytellers of tomorrow, encouraging them to take advantage of modern technology to document and share Yoruba stories. “You don’t have to wait for someone else to tell our story—start telling it yourself! Whether it’s the beating of the talking drum, the vibrancy of the Egungun festival, or the intricate designs of Adire fabric, these stories belong to you. Let the world know about the beauty of being Yoruba, and let them hear it through your voice.”, Kelani urged.
The fellowship, which has already garnered significant interest, is expected to produce impactful documentaries that will not only preserve Yoruba culture but also inspire future generations to take pride in their heritage. As the fellowship progresses, the organisers hope to expand its reach, ensuring that the rich tapestry of Yoruba culture continues to thrive in an ever-changing world. Through this initiative, MMi is proving that storytelling is not just an art form but a powerful tool for cultural preservation and education, according to the Project Coordinator, Media Mentoring Initiative, Mrs. Bolanle Oluwayemi.
Continental Hotels Group, a budding Nigerian hospitality company, has reiterated its commitment to fostering gender equality in workplace.
The group, which operates the Abuja Continental Hotel and Lagos Continental Hotel, has given growth opportunities to its workforce, especially the female folks, a development that has seen many women taking up leadership positions in the group.
Speaking on the positive development, Cuthberga Onuoha, Director, Rooms Division, Lagos Continental Hotel, one of the female beneficiaries of the growth opportunities, noted that the group is now a reference point for gender equality in the Nigerian hospitality industry, considering the fair opportunities given to every staff member.
In recognition of the contributions of it
“In Lagos Continental Hotel for example, in the executive group, head of departments, we are about 60-40 for females, and that means the females are more. That means Lagos Continental has already started giving females opportunities. If we as a hotel are doing that, other hotels are seeing it and will follow. We are now like a reference point for other is in gender equality in workplace,” Onuoha said.
Apart from its open policy, Onuoha noted that the group at its Lagos and Abuja properties make workers, especially the ladies to feel relaxed to do their jobs, amid having nursery for their babies in the hotels.
Meanwhile, the group is rolling out drums to celebrate its female staff members on March 8th, in commemoration of the International Women’s Day (IWD) 2025. The hotel group is organising a full week of celebration for the women.
“We have different kinds of activities to mark the week-long celebration for them. We have health talk, entertainment, sports and parties. We are doing them this year too. Already, there are committees across the two hotels that are organising the celebrations,” the Rooms Division Director, Lagos Continental Hotel said.
