Category: Arts & Life

  • Ayi experiments fibreglass sculptures

    Ayi experiments fibreglass sculptures

    Ekpenyong Koko Ayi is a sculptor. He is a master in fibreglass sculptural works. And he loves images, figures and portraits. Edozie Udeze takes a look at some of his latest experiments and techniques where he has works that are peculiar and show his unique signature as a renowned sculptor and visual artist.

    There are many Nigerian visual artists that their works speak about them in far and near places. Once you come in contact with their works, you are immediately aroused by the originality, tenacity and uniqueness of their signature. One of those rare and remarkable artists is Ekpenyong Koko Ayi. Ayi remains an artist who loves sculpted images and figures. His love for relief portraitures and symbols of forms always distinguishes him from the rest. A look at some of the images and portraits he has sculpted shows that he rummages more on local people; people who are close to nature and who can be easily defined by the dexterity of a sculptor.

    For instance, in a relief sculpture titled resemblance portrait, Ayi presents glossary fibreglass where he used cold cast to represent a dashing and beautiful woman. It is the portrait of a typical African lady full of life and ready to bubble and probably mingle. With an impeccable smile on her face, Ayi displays in a very classical way how a woman can decorate herself with an assortment of ornaments. Her headgear is heavy, showing a serious traditional lady in her prime. With her glittering ear rings defining her natural beauty more effusively, Ayi is quintessential in the way he emboldened her with fibreglass presented on cold cast. Her side view, beautifully represented, says it all.

    In another resemblance portrait of relief sculpture, he presents a woman with a chubby face, a city woman obviously, properly adorned in her unique par reading pair of glasses. Her braided hair is rather long and expensive. This is an African lady wearing a Brazilian braided hair flowing down her neck showing that she also belongs. The woman looks urbane, classical and happy. You could see a smile hanging on her face, a sign of total or near fulfillment of purpose.

    Here, Ayi, using fibreglass method offers art lovers a clue into his inner mind that is full of the zeal to portray African ladies in the best epitome of love and beauty. With her hair style covering all her ears, down to her neck, one wonders what she uses to listen to people or hear when she is being spoken to. But it is beauty taken to the extreme. Yet, as a sculptor, Ayi has come to master the feelings and habits of some modern women within his society. This is an era of fashion in many guises where people tend to outdo one another. So he captures this as an example to demonstrate the fashion sense of the times in a very verbose technique. In other words, Ayi’s technique is very peculiar to him and him alone.

    Read Also: Nigeria’ll soon stabilise – Tinubu’s SSA

    Another relief sculpture resemblance portrait, this time around, a man is done on clay model. The man looks a bit mean and serious, perhaps done on purpose by Ayi to spell out the seriousness of an African when faced with hurdles and worries. But then the man looks like a local titled man, somewhat eager to fill up with the demands of his title. His traditional cap shows he is indeed qualified to be so addressed as a chief or the sort. The background that he may have sculpted the piece looks like a palace or a place where respected men are usually found. As an artist, Ayi here shows some level of meticulous application of clay to bring out the full nature of the model.

    There is one work which is the only of its kind done in a landscape background. It is a portrayal of a woman. It appears as if it is a painted landscape. But Ayi is smart enough to show that with any form that an artist can attain any experiment or technique. It is also cold cast of fibreglass. However, the portrait reveals that African women love being seen to be very African in their fashion but also classical in the way they depict fabrics, beauty and fashion. The dangling beads on her neck are remarkable and they symbolized royalty. It shows that the woman may be a queen or a princess. Her appearance is dignifying.

    In it all, Ayi shows how he has come of age in his recourse into African pieces of works. These are modern presentations purposely done to promote the ideals of the people. Images and portraits define forms and style which only masters of the art can perfect and present for public admiration and patronage. As a master sculptor, Ayi is at home with big time personalities whose images also adorn his collections. This is one of the best fortes that speaks for him as a respected sculptor well versed in fibreglass and cold cast which are not only expensive but too fragile to handle.

    This, therefore, is a technique only exclusive to him. He handles this manner of sculpting in a way that once you see his works, you see a bit of the nsibidi signs come in. Whether in a clay form or fibreglass, Ayi sculptures represent unique aura of approach and depth far too profound for the ordinary eye to decode. The backgrounds are deep, decorative and artistic. This is why he is known in far and near places.

  • Osagiede: A Journey of class and excellence in acting

    Osagiede: A Journey of class and excellence in acting

    Ozolua Uhakheme writes on Destiny Osagiede, who has become a household name in the entertainment industry. Osagiede is known for his remarkable ability to breathe life into diverse and complex characters. He is also a good interpreter of scripts and delivers his lines with professional touch.

    When it comes to giving top-notch or premium entertainment as regards acting, Destiny Osagiede comes to mind. I have had the pleasure of witnessing Destiny Osagiede’s trajectory or would I dare say his remarkable journey as an actor, and I must say, his performance has not been short of excellence especially when he starred as Prince Adewale in the TV series “Blood of Enogie” in 2022 which is a testament to his growth and prowess in the craft of acting or rather, his capstone performance in my view.

    I recall his other acting features, particularly his role as a ruthless hired assassin, ‘One Touch’ in “Enakhe” in 2020, where he gave what I would call a classic display of stark ruthlessness as an assassin. This has caused him to work with notable directors such as Femi Ogunsanwo, Lancelot Oduwa Imasuen, and Victor Aghahowa, to mention but a few. He nailed the role, showcasing his ability to bring complexity and depth to his character. This cannot be compared to when he starred in the psychological thriller “The Therapist” where he took a more demure, reserved, and mentally taxing role as a titular character as opposed to the role he played as the crown prince of Ikire Kingdom in the TV show, Blood of Enogie. He took on a royal demeanour immersed in the tussle for justice and power which was evident in his superb acting performance. In fact, the switch between these triangular characters in different films shows that he’s not an actor that can be labelled, ‘a stereotype.’

    Destiny’s role and backstory in Blood of Enogie as an innocent, slave boy whose history was smeared with lack of love and affection, no sense of identity, and one who was devoid of direction, shows his range of characterisation and versatility as an actor when juxtaposed with his role as the dancing masquerade in the movie, The Lost Okoroshi (Directed by Abba Makama in 2019). His dual performances in these films and TV shows were a masterclass in physical theatre. This is proof of his growth in his craft and it’s absolutely laudable. His dancing skills, honed from his theatre background, added a unique layer to his performance on screen. The film’s screening at the Toronto International Film Festival brought his talent to a broader audience. It was worth the hype it received since it premiered on a worldwide streaming platform – Netflix when it was released, and it’s no surprise that director Charles Uwagbai took notice, offering Destiny a lead role in Blood of Enogie. The series revolves around two Dukedoms, Isibor and Ikire, the former being plagued by a curse inherited from the former Enogie (ruler) who committed suicide and they must find a way to undo this, and the latter simply championing a curse to find his lost son (Prince Adewale) and return him home.

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    As Prince Adewale, Destiny brings a depth and vulnerability that is captivating. However, he was rather compulsive in his dealings with other characters like his wife, Princess Iziegbe in the narrative arc thereby presenting a rather significant yet relatable character flaw in the story. I could not help but witness the significant twist made to his character in the later part of the series when he became the King of Ikire and the one-time all-loving and wise man, turned out to be arrogant and ill-mannered to his household, even taking on a maiden as a second wife. at this point, it all made sense to say his character was all-inclusive, as one could finally say there are no perfect humans and Prince Adewale finally showed us that we cannot all be too diligent and pure, the intricacies of life make us all-encompassing as imperfect people attaining perfection. Destiny has had a smooth working relationship with directors at home and in the diaspora. This is evident in the way he navigates the complexities and mental pressure his craft brings. I’ve had the pleasure of keenly evaluating Destiny’s artistic works, and I have seen his dedication, work ethic, and willingness to take risks. I believe the acting techniques he employs in his past projects have made notable directors in the industry find him worthy to star in their films.

    His artistic versatility is shown in his love for culture and tradition. Therefore, playing the princely role in the series which has an IMDB rating of 8.2, brings to the fore his unique adaptation to the role at hand. The series aired on DStv, showcasing his talent to Africa and the world at large on a daily base, to millions of viewers. The show’s cultural significance, relevance, costume, makeup, iconic settings, and reliability have made it a global phenomenon. His costumes were rather sub-per considering the modern times we are in. I would rather prefer the costumes should have a fashion blend of the old and modern, touching the visual appeal of the exposed audience who have a strong distaste for poor fashion outlook but have a strong liking for a touch of fashion modernity even if showcasing indigenous tradition and culture.  As a Prince, some of his costumes were very common and did not elevate him to the status of a Prince, they looked rather common materials and fittings, a better consideration/combination in my opinion should have been made to this effect.

    This series has connected with audiences’ binge-watching and dissecting every aspect of the story which birthed its first season through to the grand finale. Despite all these, viewers yet viewers can’t get enough of the unique and exceptional story the cast brings to life. Conversation have been going on recently for a possible sequel to this production, which will have Prince Adewale who is already a king, getting to explore new height to his character. We keep our fingers crossed should there be a rebirth of this iconic series with a fresh story, beloved actors reprising their roles, and their reach, far beyond the tentacles of widespread viewership.

    Destiny Osagiede’s performance and growth as an actor are glaring, and his dedication to his craft is inspiring. I personally desire a comeback of this story, but at this point, I can say that the director created a spectacle, and Destiny gave us a show from his artistic ingenuity.

  • National Troupe digitalizes Nigerian dances

    National Troupe digitalizes Nigerian dances

    National Troupe of Nigeria has started a programme tagged reimagining National Troupe of Nigeria through innovation. The idea is to establish culture in virtual reality which will also produce digitalized games, dances, stage drama and so on. The programme was launched recently at the National Theatre in partnership with Open Innovation Access. Edozie Udeze was there

    Over the years, National Troupe of Nigeria, a parastatal of Federal Ministry of Art, Culture, Tourism and Creative Economy has always proved its mettle. Seen as the least in terms of hierarchy in the ministry, yet it has often surprised the public with the level of performances and activities it discharges year in year out. Now with Kaltume Bulama Gana, a renowned fine artist as its Artistic Director, the National Troupe has continued to roll on towards progress.

    To end the year 2024 on a remarkable note, the management of the Troupe put together a beautiful programme which it tagged reimagining the National Troupe of Nigeria through innovation. With a rider which says culture in virtual reality and digital games, the innovative programme with Open Innovative Access. Essentially the noble idea is to refocus attention on the model trends of using dance as a formidable cultural tool to curry the attention of the world. The global stage has already gone digital. And since dance, acting, drumming, singing and so on have come to dominate centre stage including the social media space in many ways. Gana has deemed it expedient to allow the activities of the Troupe also to fall in place.

    As remarkable as it has come to be, the National Troupe is still the apex culture ambassadors of Nigeria. This is a Troupe that has toured almost all corners of the globe, dancing, singing and espousing the richness and vibrancy of Nigeria’s many traditional and local dances. Dance-drama, drumming, local folklores, fluting and all, have all helped to distinguish the Troupe from the rest. So reimagining the Troupe at this time is not only timely, it goes to show also that Gana is in tune with the ever changing world of technology. The event took place at the National Theatre, Iganmu, Lagos, on 21st December with presence of many stakeholder, artists, art lovers and staffers of the Troupe in attendance. The atmosphere was agog as if it was a street carnival. The beauty of the arena showed that the Troupe always likes colourful shows.

    Read Also: Nigeria’ll soon stabilise – Tinubu’s SSA

    The artists were in their best mood. Music played on and on and thrilled and entertained people. The mood appeared joyous and pleasant. Then suddenly it was time to bring Gana to the podium to welcome guests. Her elegance and poise reignited the arena. Her eloquence pierced the air as the Dj played solemn and soft music in the background. Then Gana said,”esteemed guests, and fellow Nigerians, today, we stand at the precipice of a new era where tradition meets technology and culture transcends boundaries.  Therefore it is with great pride and anticipation that I announce a groundbreaking initiate that will forever redefine the landscape of Nigeria cultural expression”. As she spoke, guests displayed their high level of appreciation because this time around all the events of the Troupe will be in digitalized form. In that case, all elements of cultural properties of the Troupe are open to global exposure.

    Working in collaboration with Open Innovation Access headed by Sola Adekanye shows a visionary journey to integrate cutting-edge technology into Nigeria’s cherished cultural dances. So Gana went on, “this immersive experience will not only elevate the artistry of our dancers, but also forge a deeper connection between the younger generation and the rich heritage of our nation”. It is true that if this programme is carried out its logical conclusion, time will come when many nations of the world will be compelled to visit Nigeria on residencies on dances, dance patterns, movements, choreography and more. The richness of Nigeria’s local and traditional musical instruments when properly handled by seasoned artists and professionals have no equals anywhere else.

    Now, if the numerous traditional dance forms in Nigeria cutting across over 450 languages and ethnic groups are combined in a state-of-the-art technology, National Troupe will of course create breathtaking performances that can transport viewers to a realm of wonders and imagination. And in all intents and purposes, Gana seems entirely committed to this goal, this mission.

    The Minister who sent in a representative in the person of Mariam Ajagu reiterated the need to keep Nigerian culture ever afloat. Ajagu an adviser on culture to the president but attached to the office of the minister, Hannatu Musawa was of the opinion that this project would actually bring innovation into Nigerian repertoire of dances. It will also attract global audience to the Troupe and Nigeria as a whole. “This is in line with keeping dance alive. It is indeed a great endeavour”. In her own reaction also, Nigeria’s foremost actress, artiste and one the pioneers of Nollywood, Joke Silva praised the vision by the Troupe. She regaled the crowd with the history of how she and her husband Olu Jacobs, met at the National Theatre under the auspices of National Troupe of Nigeria.

    It was indeed a moment of reflection for her as she spoke and recollected those early years when the Troupe was still gathering momentum. Joke said, “It is a nostalgic moment for me. I met my husband here years back when uncle Oduneye was the Artistic Director of the Troupe. The play that brought me and my husband together was The King Must Dance Naked. Both of us were on stage together. In those days, we used to focus attention more on live and stage performances. But then we used those years to look into the future. Today I am happy the Troupe has moved on. No doubt this programme will help to project our numerous dances far into the world.

    For Joke, this arrangement can help to discourage the younger ones from focusing more on Western cultures. Nigerian folklores can now be conveyed through this new technology. It is truly an amazing programme and so with excitement people will look forward to more years of perfecting different dance forms and movements and patterns. For Shaibu Husseini, the CEO of National Films and Videos Censors Board, who is also a dancer and a former staffer of the Troupe, said that the idea of reimagining is apt and prompt. “This is a beautiful collaboration that is tech-driven. This is the first time this sort of programme is being introduced in the Troupe. It will serve as an avenue to properly market, distribute and create more awareness about the activities of the National Troupe of Nigeria. With tech now you may not need to travel but hookup on the screen to view what the Troupe has to offer”.

    Indeed things are changing fast. Dance must equally follow. Dance has to follow the trend of this new technology and that is exactly what the Troupe has done. In his own response, Adekanye of Open Innovation Access recalled how he met with Gana and then brought up the idea of reimagining which has now become a reality. “We were inspired by African cultural and traditional elements and the need to preserve them in modern technological form to embark on this collaboration. We know that culture is life. It is people’s way of existence, habit and all. Therefore today what we have is history in the making. It will serve as an enduring experience for Nigerians at home and abroad. Present at the occasion were big time artists, scholars, actors and actresses and all the members of staff of National Troupe. A little demonstration of the new technology of dance was amplified for guests to view and enjoy.

  • VFS Global earns great place to work certification in Nigeria

    VFS Global earns great place to work certification in Nigeria

    VFS Global, a global leader in visa and consular services, has been officially recognized as a Great Place to Work® Certified™ company in Nigeria for the period spanning October 2024 to October 2025. This esteemed certification is a testament to the company’s unwavering commitment to creating a strong, inclusive, and supportive workplace culture, not just in Nigeria, but across its global operations.

    The Great Place to Work® Certification™ is based on employee feedback and a thorough evaluation of the organization’s workplace culture. It recognizes companies that excel in building environments where employees feel valued, respected, and empowered to reach their full potential. For VFS Global, this acknowledgment marks a significant achievement, as it reflects the positive impact of its ongoing human resource initiatives, which are designed to enhance employee satisfaction, foster growth, and build a culture of inclusion.

    One of the key factors contributing to VFS Global’s successful certification in Nigeria is the company’s focus on creating an employee-first work environment. According to Nirbhik Goel, Chief Human Resources Officer at VFS Global, the organization has always emphasized the importance of offering meaningful work and fostering a culture that supports both professional development and personal growth. “This certification reflects our commitment to employee-focused policies. We have crafted roles that not only offer meaningful work but also pave the way for successful careers within a diverse and inclusive environment,” said Goel.

    In Nigeria, VFS Global has earned exceptional ratings from its employees on several key parameters. The company’s workforce in the country expressed high levels of trust and faith in the management, with many employees acknowledging the efforts made to ensure that they feel safe, welcome, and equipped for success. The overwhelming majority of employees in Nigeria reported that they felt proud to work at VFS Global, further demonstrating the effectiveness of the company’s leadership in fostering a positive workplace culture.

    The Great Place to Work® Certification™ for Nigeria is just one part of VFS Global’s broader commitment to excellence across multiple regions. This year, VFS Global has also received similar certifications in other countries, including China, India, the Philippines, and the Kingdom of Saudi Arabia, underscoring the company’s global focus on creating a supportive and inclusive professional environment wherever it operates.

    In addition to the Great Place to Work® Certification™, VFS Global has been recognized with several prestigious awards in Nigeria, further affirming the company’s dedication to excellence in human resource practices. Notable awards include the HR Expo Africa 2024 Work Festival Award for ‘Category Excellence in Diversity, Equity, and Inclusion’, which recognizes the company’s efforts in creating a workplace that embraces diversity and promotes equality for all employees. Additionally, VFS Global was awarded the Employers Excellence Award 2023 in the Consultancy, Outsourcing, and Human Capital Services industry category. These accolades showcase VFS Global’s reputation as an employer of choice in Nigeria and demonstrate its leadership in promoting progressive HR practices.

    Taiwo ‘Dayo-Abatan, Regional HR Head for Sub-Saharan Africa, also reflected on the importance of employee initiatives in achieving the Great Place to Work® Certification™. “The award is a testament to our ongoing employee initiatives in the country. These initiatives include the recent hiring of 60 university graduates from Nigeria under the Nigeria Jubilee Foundation Program, in collaboration with the United Nations Development Programme,” said Dayo-Abatan. The hiring initiative, which took place on October 25, 2024, is aimed at empowering Nigerian youth by providing them with employability skills, work readiness training, and the opportunity to contribute to their communities through corporate social responsibility (CSR) efforts.

    VFS Global’s workforce in Nigeria is a vital part of its broader operations in Sub-Saharan Africa, with more than 250 employees in the country. This accounts for a third of the company’s total workforce in the region. The organization’s success in Nigeria serves as a model for its operations across Africa, demonstrating the company’s commitment to creating sustainable career opportunities for local talent, investing in employee growth, and fostering a culture of inclusion and respect.

    The recognition of VFS Global as a Great Place to Work® Certified™ company in Nigeria is not just a milestone for the company but also a reflection of its dedication to creating a thriving work environment where employees are motivated to contribute to the company’s success. The certification and awards further reinforce VFS Global’s position as a leader in the human resources space, with a clear focus on employee well-being, career growth, and organizational excellence.

    As VFS Global continues to expand its footprint and strengthen its workforce globally, the company remains committed to improving its workplace culture and developing innovative HR practices that ensure every employee reaches their highest potential. The Great Place to Work® Certification™ serves as an important milestone in this ongoing journey of growth, development, and employee satisfaction.

  • Myth, paradigm and syndrome: A review of Peter Okolie’s Purpose Recall

    Myth, paradigm and syndrome: A review of Peter Okolie’s Purpose Recall

    By Kẹ́hìndé Fọlọ́runshọ́

    Peter Okolie’s Purpose Recall is a groundbreaking exposition on the delusion of the careerist in the labour market. In a world where hard work has become the hallmark of success, there is a benumbing loss of value that questions the reason for existence. It feels as if the purpose of life is to work. While it is indisputable that we must put our hands to legitimately making a livelihood, certain conditions exist under which our engagements will not translate to the ruination of the creative energy to become truly successful. In this book, Okolie lays bare the myth in which hard work is shrouded and the claimant needs to break free from the paradigm that working round the clock equates to success and a purposeful existence.

    The counsel follows a practical example of how successful individuals reached a turning point in their careers and started to live a purposeful life simply by reflecting on the destructive nature of an existing social culture. The case studies given in this text are the heroes of their own lives whose decisions nudge awake from the slumber of tireless hustle. By way of emphasis, the hustle culture to which our ‘protagonists’ are adapted redefines success. Peter Okolie is apt to imply that the characters chase after a shadow of fulfilment. The reader encounters highly placed figures who conduct their lives under the climate of hustle culture. The said culture is a social system fast gaining ground as the new normal. It creates an atmosphere whereby crashing the daily hours on tireless labour is believed to be the measure of true happiness. This is the condition the characters are confronted with. For them, deep reflection helps them retrace their steps in the right direction. Anyone can imagine the catastrophic end they would have fallen headlong into if they had sustained the elusive impression that labour is directly proportional to purpose. It is thought-provoking how the author weaves these personal accounts into rhetoric that spells the collapse of the work-value system in the modern world. 

    Furthermore, this counsel exposes the laxity of family heads. We see in these personal accounts a shift from community to isolation. The characters, while being active members of the society’s labour force, are afflicted with separation from their immediate environment. Their families are on the verge of breaking because they have no time to cater for such an important blessing from God. They are trapped in the illusion that career success brings about family happiness simultaneously. A luminary example is Folakemi, an excellent CEO who despite her achievements, “behind the scenes, she felt disconnected from her family, burdened by her responsibilities, and spiritually adrift.” 

    This portrays a growing trend among families today where parents’ busyness has proved a breeding ground for negative indulgence amongst their children. The paradox is how the same family they work for bears the brunt of the burnout and oversight induced by their abject exhaustion. In the same breath, it becomes clear that many cases of children’s moral corruption are due to parents’ oblivion towards their (children’s) needs. Children need their parents to oversee their moral and spiritual growth as they assimilate into society. But with the hustle culture that has engulfed their parents’ consciousness of the ultimate breakthrough, there is no denying the parenting flaws that plague society nowadays. 

    Purpose Recall, therefore becomes a textual analysis with more than feasible nuggets to help the victims of this social malaise get back on track. This follows that the title is a wake-up call; a rallying cry to all thriving workaholics to be attentive to the sagging essence while they solve the manifold socio-economic insecurities of modern life. In like manner, the title offers a profound reflection on life. It simplifies the rhetoric of living. Work and livelihood have to be a creative exercise through which balance is achieved in all facets of life – physically, spiritually, socially, and family-wise. The reader will be thrilled to discover that there is a total package of excellence to be found in working. That is, the book vividly shows how our daily means of livelihood can become a pathway to discovering the reason why we exist. Of course, it is not just to tick all the boxes there are about the responsibilities and obligations of adulthood. In this book, there is the joy of learning how to balance the scale of work and purpose. 

    In that tone of exegesis, Okolie is very concise on exploring purpose concerning work. It is such a breathtaking discussion that he delves deeply into God’s template for a successful careerist. Every chapter runs seamlessly on the instruction, direction, and admonition from the Bible, substantiating facts with biblical references. Interestingly, this is not to say that Purpose Recall is an exclusively Christian narrative of the pressing subject it dissects; rather, it serves as a universal template for what substantially works for anyone trapped in this maze. Therefore, the biblical verses are not Christian-bound but project, in a layman’s translation, an everyday reality from which escape is impossible regardless of faith and creed. This, among other deductions, is another genius on which the counsel is founded.

    Closely related to this is how Okolie further digs deep into the idea of the divine element in our day-to-day work evaluation. There is no gainsaying the consciousness that God reigns supreme over man’s endeavour on earth. As such, several religions and faiths posit that man’s success – true success, that is – depends on God’s endorsement. At this rate, one can not agree more with George Herbert’s tone and mood in his metaphysical poem, The Pulley. The poem explores the one thing needed about man’s engagements: rest. It further underpins that man must always return to God for the true definition of success. Herbert may have lived as a priest, but his classic poem is boundless by religion. Such is what Peter Okolie masterfully achieves with his Christian analysis of the social syndrome of hustle culture. He is able to point any reader to God – in their own creed, faith, and belief – as the giver of rest, purpose, and life’s direction. Okolie showcases his talent for solving a socially conditioned problem with an arsenal of religious nuggets agreeable to Jews and Gentiles alike.

    Finally, in style and language, Purpose Recall is a tremendous success. The tone of the craft is effectively didactic and the mood is reflective. Anyone reading can hear the supportive voice of the author through that moment of reflection and feel his hand walk them through the cul-de-sac of workaholism, away from the crossroads of purposeless labour and right onto the track of a God-given livelihood. It is in this regard that one is held even spellbound as the author expounds on the irony of life. Many of the character case studies of the problem on the ground eventually find a lasting solution in hazarding a step of faith towards simple, correctional practices.

    On the whole, Purpose Recall is a much-needed read in our world today. It redefines success by demystifying the myths and paradigms of relentless hustle. Ultimately, it uniquely proves a guide towards strengthening the weakened human relationships affected by work syndromes. It also has the rehabilitative effect of remaking severed family ties. If the restorative voice of communal living and simple life of fulfilment is heard in our deluded society today, it has come from no other counsellor but the writer.

  • Meet the brains behind LemonVinyl, discovering future sounds of Afrobeats

    Meet the brains behind LemonVinyl, discovering future sounds of Afrobeats

    In 2024, Nigerian music soared to new heights globally, with stars like Rema, Asake, Davido, and Burna Boy breaking into unprecedented levels of stardom. Amidst this surge, an emerging music brand, LemonVinyl, experienced a remarkable transformation from a close-knit social media community to a significant player in the music industry.

    Undoubtedly, LemonVinyl has carved a name for itself in the Nigerian and Disapora entertainment scene with an Album, a budding online community and series of events since its inception. Most notably, it is a platform or haven where new and emerging talents have found a landing voice within the entertainment industry.

    With a mission to connect People, community and Culture, the journey has only just begun for the collective company.

    Founded in 2021 by Ibrahim Hakeeb and Adeolu Samuel, LemonVinyl embarked on an ambitious 18-month plan to expand its reach and influence as an online community for music lovers which soon morphed into something bigger. The pivotal moment came with a music boot camp in July 2022, drawing nearly 500 creatives from across Nigeria. This event marked the beginning of LemonVinyl’s evolution, leading to the creation of their pioneer album, “If Life Gives You Lemon” (ILGYL).

    The album, meticulously crafted from recordings made during the boot camp, featured 17 tracks, over 70 music composers including artists, songwriters, producers, and garnered over 1 Million organic streams across all social streaming platforms after its release in November 2023. The project’s quality and innovation earned praise from top music executives and media personalities in organisations such as The Orchard Music, Trace Urban, Sony music to mention a few; cementing LemonVinyl’s reputation in the industry.

    To celebrate, LemonVinyl curated the “Lemon Room” event in December 2023, showcasing emerging artists and live performances from the ILGYL album. In 2024, the first ever Lemon Room events held outside Nigeria in Limerick, Ireland – March 2024 and Manchester, United Kingdom – July 2024 respectively. The event’s success, with attendees from around the world, highlighted LemonVinyl’s growing influence and ambition beyond the shores of Africa.

    In 2023, Adedotun (Michael) Adekanmbi joined the duo of Ibrahim Hakeeb & Adeolu

    Samuel at the helm of affairs jointly leading development efforts across the UK / EMEA regions. The trio team have gone ahead to introduce their LEMON Room events to the diaspora audience as well as continuing their mission to discover new artists while partnering with creatives and communities to establish newer projects.

    Looking ahead, LemonVinyl plans to expand its services, including music promotions, artist development, and international events. With a strengthened team and grand plans for the later part of 2025, LemonVinyl is poised to further shape the future of music in West Africa, United Kingdom and beyond.

  • Lifted: Odyssey of an ex-VC

    Lifted: Odyssey of an ex-VC

    Lifted is a 521-page narration of the fascinating life of Peter Olufemi Adeniyi. Written in flawless, simple, flowing, sometimes musical English, “Lifted” is an account of toil, pain, excitement, challenge, ups and down, success, celebration, reflections, consciousness, timeliness, discipline, tribulation, triumph and trust in God.

    It tells the story of a determined young man, who took his life in his hands, struggling to claim his inheritance; a young man who met love, missed love and found true love and family. He remains a loving husband, a devoted father to all, from far and near; a mentor, teacher, leader, workaholic, humane, urbane yet down-to-earth.

    A community man, social worker, philanthropist, all fused together, with intellect, passion, devotion, and faith.

    I have been lifted by reading “Lifted”. It is a compelling read. Should I then not congratulate the author for this epic work that is given to lift humanity, indeed, all of us. 

    Chapter One reveals the humble beginning of the author, devoid of the guiding light of education. The journey unfolds through the narrative of his family background and early life, offering a glimpse into the formative years that shaped the path of his life. It is an account of his parenthood, family tree and the missed opportunities of learning from a mystic father with special healing powers. The reader is entertained by the tales of Papa’s adventures with young Olufemi. Mothers will always be mothers, loving, caring and protective.

    This thrilling chapter ends with an explanation of the origin and preference for the name “Adeniyi” to “Adeluyi”, and in place of “Ajibaiye”, the original family name.

    Chapter Two narrates the trials, fun and triumphs of secondary school days at Egbeoba High School, Ikole-Ekiti and Abeokuta Grammar School, laying the foundation for the divine intervention that paved the way for undergraduate and postgraduate education, covered in Chapters three and four. If you want to explore the foundations of the author’s everlasting discipline, especially timeliness, look no farther than the narrations of his life experiences at these important life stations. Talk of the inspirational resumption assembly bible passage, Roman 12: 1-21 that became the hallmark of Abeokuta Grammar School.

    He said “these words guide and keep guiding and guarding my life. I lived that life as the chapter had said it…(the passage) kept on instructing us to do good and recognise that we all have limitations”.

    The chapters complete the story of the early life. Chapter three is a narration of grit, resilience, lost hopes and miraculous divine intervention in the journey to the university, first, University of Ife at Ibadan, then later at Ife. The miracles and luck continue to his postgraduate sojourn in Canada, now with his God-given wife. 

    Make sure you do not miss the “convocation dreams of the University of Waterloo, Ontario, Canada” that hunted Prof from 1978 (after he missed the 37th Convocation at which he should have been conferred his PhD, till several years later in 2010 when he was invited to be conferred with a honorary Doctor of Environmental Studies by the same University. It was only then that the dreams stopped! Very fascinating.

    Chapter Five narrates the joys and pains of raising a young family, while studying overseas, after finding true love that was once denied. Very few men survive such jilting and jolting, much like a stab in the back. However, every aspect and facet of young Olufemi’s life was a lesson. From how he found true love, you are then treated to “the evolution of an accommodating nuclear family”, which is a true confession.

    Mama Anike has remained a quintessential virtuous woman, wife, mother, friend, comforter and Prof’s “jewel of inestimable value” and virtue. Hear what he said: “This Anike has remained a source of light in my life”.

    As a “father to many children” from far and near, prof’s family’s generous disposition allowed many to live with them and their house helps (guards, driver, etc) could not be distinguished; they are integral to the family.

    However, the episode recorded on page 82 of this chapter forces me to  affirm that “life without tribulations must be a fake or fairy tale life”. How could a driver and a guard that were so treated as part of the family have plotted to hire kidnappers against Mama Anike for ransom? The answer to why, how and the full story are in the book. This is the country we now live in.

    Chapter Six is on “The Challenges and Joys of Becoming a University Lecturer” and

    Researcher, while Chapter Seven: captures the author’s “Reminiscences as Managing Director at UNILAG  Consult”. Chapter Six narrates the author’s return to Ife after obtaining his PhD in Canada, only to be returned to the job market, with a young family of tough boys. His divine helper is, however, always at hand, and so University of Lagos came to his rescue, and he made the most of opportunities that came his way and blossomed, rising rapidly through the ranks and leaning on the shoulders of giants. He cleverly lodged himself into the labyrinth of the UNILAG ecosystem and prospered from one administrative position to another, till he was found worthy to serve as the MD of UNILAG Ventures. His managerial, professional and academic stars are shown even in daylight, thus becoming a goldfish with nowhere to hide his enormous talents.

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    Chapter Eight then narrates his “Journey to Becoming a Vice Chancellor” at the Federal University of Technology, Akure (FUTA), without previously serving as Head of a Department, Dean of a Faculty/School or Deputy Vice-Chancellor (which were the usual requirements of becoming a Vice-Chancellor in Nigerian universities). He was searched and (divinely) lifted to become the Vice-Chancellor of FUTA, for five statutory years of meritorious and audacious service captured in Chapter Nine. If you want to know why, how Prof stopped smoking (that is if you knew he ever smoked, and I wonder if anybody in FUTA knows, and that FUTA caused it), and who stopped him from smoking, this Chapter 8 is where you will find the answers.

    Praise God, it is Thanksgiving time. The same FUTA where he was stopped from entering the campus on reaching Akure from Lagos, and was kept outside in a hotel room in Akure city for almost three weeks, is where we are celebrating him today. Hallelujah. He serves a God that answers passionate prayers! Against all threats by the staff unions, he arrived in Akure on January 2, 2002 to take up his new appointment but was not allowed into this campus till Monday, January 21 … but triumphantly.

    Chapter Nine: which is the longest of the chapters at 78 pages, narrates his impactive and transformational tenure at FUTA during which he could be called Mr Projects, or a reformer, a university governance guru or a miracle worker. Don’t forget that though he refused to learn those tricks from Papa, there is no way he would not have inherited some of the trademarks, and much evidence point in this direction.

    All the restiveness of workers disappeared, “enemies and foes”became friends and there was peace on campus; no single students’ unrest was recorded.

    Finally, his exit after five meritorious years of service was in contrast to his eventful arrival and resumption. FUTA had been transformed with a solid foundation of future leadership, and here we are today basking in that glory and euphoria.The good of it was that Mama was still alive then to share in the Joy of his success and triumph.

    This book is a must read to capture his flowing analysis (in words and deed) of what makes a successful university governance. The account in this book, up till this chapter, represents the definition of “An Ideal 21st Century Vice Chancellor”. Talk about the simple but delicate matter of the appointment of Heads of Department. FUTA leaned to the radical left who argues that HOD’s must be democratically elected.

    The author’s counsel after tasting the pudding is thus: “A system that allows junior staff academics to head Departments in the presence of senior colleagues automatically denies them the mentorship and cooperation of the senior ones”, with which I fully agree. It is not good for the junior staff and definitely not good for the system.

    Oga Adeniyi was to, afterwards, become a leading authority in the management and governance of universities, hence, apart from serving in two Federal Universities (UNILAG and FUTA), he was also elevated to serve in one State University (University of Ado Ekiti, now Ekiti State University) and two private universities (Elizade University, Ilara Mokin and Chrisland University, Abeokuta), as captured in Chapters 10 and 11).

    His insights into the complexities of university governance and leadership has become legendary. I must say that I was quite fascinated and enthralled by his understanding and narration of his similar experiences in helping to establish and guide the development of private universities. I consider this a mentorship and great lesson for proprietors and founders of private universities, who tend to feel a priori that such institutions are for money making from Day One. This viewpoint is wrong and accounts for the mushrooming of several underperforming “glorified university colleges” in Nigeria.

    At this juncture, let me complain that, perhaps, Prof had too many tales to tell that he forgot to include a fairy-tale encounter which paired us together on an NUC Committee that was set up to inquire into why Plateau State University (PLASU) had not graduated any student till 2015, though it was established in 2005.

    Prof was the Chairman of this risky committee that saw us sneaking into Jos and Bokkos, and were hurriedly evacuated back to Jos before nightfall, as neither the governor nor SSG of the state welcomed our mission. The committee succeeded in rescuing the university from the brink of collapse because we had an experienced, non-quitting and resilient chairman, whose whole life is guided by his faith.

    I should not fail to note that Mama passed on gloriously on Saturday, October 11, 2008 when Prof was serving as the Pro-Chancellor/Chairman of the Governing Council of UNAD.

    Let me pause here to reflect that this blockbuster of a book is actually a 3-part thriller that could have been conveniently split into two volumes: “Growing up, Family and Academic Tales” and “Professional Exploits and Contributions”. However the resonating thread of being “Lifted” (divinely or mysteriously) and being a passionate vessel to Lift others on his way or path beautifully weaves and nests the entire volume into a whole that it may be hard for you to know that “you are getting two books in one”.

    This talks to the mystic, the humaneness, the generosity and the considerate mien that together hallmark the life of the author since he came out of his mother’s womb. The running thread talks to the trials and tribulations, envy, treachery, greed, disappoints, injustice, deadly and toxic intrigues that run in the underbelly of every lizard that we assume is doing well because we cannot feel its pain, yet on the flip-side, are also stories of mysterious glorious and triumphant escapes, victories, celebrations and joys unlimited. They were all there growing up, at adulthood through the schools, including the university and the graduate school. How and where will you not encounter and interact with human beings, hence it continues even in professional life, in government, at the university classrooms, everywhere. Ori eni ni nko ni yo, ka dupe lowo ori (it is our heavenly being that saves us from the vicissitudes of life, hence we must thank our stars), the mystic that guards and guides us through the storms, hills and valleys. Today, we are celebrating Olufemi Adeniyi’s victory, as we thank God for his life. That includes his lovely family. 

    The later chapters, but one (12 to 17), which I dubbed Volume II, detail and illuminate Prof’s professional life of selfless service to humanity and country, featuring a diverse array of experiences, from contributions to remote sensing education, practice and application in Africa to involvement in rural development programmes in Nigeria. These include service in DFRRI, NALDA, and the unfinished businesses of PTCLR and the NRDC that remain still-born in the underbelly of Nigeria (I deliberately kept the acronyms so you will be compelled to seek their full meaning in the book).

    The engagement and solid professional and expert contribution to land reform initiatives and collation of the inventory of community-based infrastructure projects in Nigeria and specifically, closer home in Ekiti State, underscores a commitment to societal progress and transformation. All these with considerable challenges, deadly encounters with greed and corruption, but also with an oasis of successes, such as when help came from unexpected quarters after all hope was lost. Such was when the then SGF came to the rescue of the National Inventory of Community-based Infrastructure Projects.

    To God be all the Glory.

    I will then leave you to find out in the last Chapter 18, what the author called “a poignant turn” as he reflected on the misadventure into a business partnership, that generated many lessons of pitfalls, wrong assumptions and risks.

    This chapter underlines the author’s commitment to truth, honest engagement and patriotism, which in today’s Nigeria exposes such persons, who are very few, and getting fewer and fewer, to risks, danger and exposure to trick-stars and scammers.

    In all, for a big volume of 521 pages with a well detailed index, three or four typo errors mean nothing, the most glaring is taking Mrs Margaret I. Omosule to be a male on page 348.  This autobiography of Adeniyi is highly recommended as a treasure that everybody should have. Be ye Lifted. I have been thoroughly enriched reading through its pages. I congratulate the author for the great painstaking recollection of all the stories so beautifully narrated.

     Actually, I feel challenged and immensely Lifted to emulate this great dedication to diligence and excellence.

    Get your copy now, and buy for friends, relations, classmates and anyone that you want to be Lifted.

  • Honouring Onome Umukoro’s vision

    Honouring Onome Umukoro’s vision

    The recent opening of The Art of Grief: Honoring Onome Umukoro’s Final Vision marks the quiet yet powerful return of an artist whose untimely passing earlier this year left a void in the contemporary art scene.

    The exhibition, which opened at the Adam and Eve Homeware, Ikeja, Lagos, with the theme, Insanity and Madness as a result of Grief, was a posthumous tribute, revealing the deep, personal journey Umukoro had begun before her death, offering an intimate exploration of the emotional landscape of grief and also was in fulfillment of the dreams of the late Onome, who was also an artist.

    While still bearing the pain of her loss in their minds, the friends of the late 25-year-old student of Law School Abuja, decided to immortalise her with a posthumous art exhibition.

    The one-day exhibition entitled, A light called Obaro,’ reflects the grief of a group of her classmates at Law School Abuja.

    Before passing on, the young and enterprising Onome was at the cusp of becoming a lawyer as she was studying at the Nigerian Law School, when she succumbed to death following a brief illness.

    Speaking at the open one-day exhibition, the organisers noted that the theme, Insanity and Madness as a result of Grief reflects Onome’s exploration of deep emotional and psychological landscapes through her art.

    The exhibition lived up to expectations with rich collections on display including; Canvas Art – a collection of Onome’s paintings and mixed media pieces; Photography -photographs taken and curated by Onome, highlighting her perspective on the theme and Digital Art-Digital creations that Onome was passionate about, showcasing her ability to merge technology with traditional art forms.

    Diben Dodo, her law school classmate, recalled speaking to Onome while she was still working towards the exhibition. He said that, although the environment wasn’t too conducive for an artist to strive as there were not too many sources of inspiration, Onome still tried to multitask, juggling law school and art.

    “Whilst the art that surrounds us are Onome’s expressions and creations, they are extensions of her, and are also her. As you are seeing the art, you are also seeing Onome. Just as art is subjective, the internal conversations we will have with Onome while viewing her art are also subjective and personal based on each person’s unique connection with her,” he said.

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    Co-organiser and post graduate student, Aribim Bristol, expressed delight at welcoming Onome’s friends and family as they all celebrate her incredible legacy.

    According to her, the event served a twofold purpose: showcasing her remarkable artistry and fulfilling her long time desire to host her very own art exhibition.

    She said that since her passing, countless people have shared stories of how she inspired and touched their lives—a testament to her enduring impact.

    “Onome was a visionary, excelling as an artist, lawyer, writer, and philanthropist, with dreams of creating meaningful change for everyone around her. The UMK Foundation, which is a foundation her friends and family will launch in her name in the new year, will carry her passion for uplifting young people and helping them fulfill their creative dreams. Special thanks to everyone who made today possible—your support means the world,” she said.

    Father of the late Onome, Ufuoma Umukoro, expressed his excitement to the posthumous honour, saying “I think we have been able to make her proud today”.

    “She was an aspiring lawyer who also combined as an artist. She was a painter specifically. She had always wanted to organise an art exhibition in Lagos in December when death snatched her away from us. She died in a hospital in Abuja. She was doing very well as a student of law and had passed one of her examinations prior to her death,” he said.

  • Festival champions culture for economic growth

    Festival champions culture for economic growth

    The 8th edition of the Asa Day Festival brought Yoruba culture to the forefront with a resounding call to preserve and promote its rich heritage. The event, themed Raising the Bar of Lagos Indigenous Cultural Heritage, was a celebration that transcended entertainment to a clarion call for cultural preservation and economic transformation.

    Held at the Blue Roof in Agidingbi, Ikeja, Lagos the festival featured His Royal Majesty, Oba Joel Olaniyi Oyatoye, the Oloro of Oro Kingdom, as its keynote speaker. Oba Oyatoye emphasized the economic potential embedded in Nigeria’s cultural assets. “I believe in the future through culture. We must embrace our heritage, which is slowly being eroded by modernity. Despite Western influences, there is growing global appreciation for our traditions. It is time to harness this cultural power for economic growth,” he said.

    The Asa Day Festival, held in collaboration with Asa Day Worldwide International, Canada and the Lagos State Ministry of Tourism, Art and Culture, aimed at highlighting Yoruba culture as a unifying force and a potential driver of development. This year’s edition marked the second time Lagos hosted the event, underscoring the city’s role as a melting pot of cultures and the importance of celebrating its indigenous roots.

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    The festival offered an immersive cultural experience, featuring music, dance, art, and traditional performances that showcased the vibrancy of Yoruba heritage. Guests traveled from across Nigeria and China to witness the celebration, reaffirming the universal appeal of Yoruba culture.

    Oba Oyatoye’s advocacy was echoed by Fuji maestro Dr. Saheed Osupa who described the festival as a vital initiative to preserve culture for future generations. “Culture is a treasure. We must do everything to keep it alive,” he remarked.

    Veteran Yoruba Nollywood actor Saidi Balogun stressed the role of families in sustaining cultural traditions. “Charity begins at home. “Let’s teach our children who we are and where we come from. If we don’t, our culture may disappear,” he said.

    Lanre Hassan, popularly known as Iya Awero, added her voice to the call for cultural preservation. “Our culture defines who we are. It is our duty to protect and pass it on to the next generation. We must all be part of this movement,” she said.

    The festival was more than a celebration; it was a platform to advocate for economic potential of cultural heritage. By showcasing the value of Yoruba traditions, Asa Day highlighted culture as a tool for tourism and national development. The Lagos State Government’s support in hosting the event was acknowledged with promises of a more elaborate edition next year. Plans include a comprehensive cultural exhibition to underscore the importance of heritage in contemporary society.

    Oba Oyatoye called on the Nigerian government at all levels to invest in cultural preservation as a means to bolster the economy. He believes the revival of Yoruba culture can foster national pride, attract global interest, and create economic opportunities.

    The success of this year’s Asa Day Festival demonstrated the growing recognition of culture as a valuable asset. As the event drew to a close, the message was clear: Yoruba culture is not merely a link to the past but a beacon for the future.

  • How power bikers revved revellers to frenzy at Calabar

    How power bikers revved revellers to frenzy at Calabar

    No fewer than 200 power bikers converged on Calabar penultimate Sunday for the Bikers’ Parade session of the 2024 Carnival Calabar, in Calabar, the Cross River State capital. The team, drawn from Motorcycles Clubs in Lagos, Abuja, Port Harcourt and Calabar, dazzled revellers with spectacular and breathtaking stunts on the 12-kilometre route of the carnival, Assistant Editor (Arts) OZOLUA UHAKHEME reports

    Their presence was unmistakable and a delight to watch. From safety kits (dress) to engine capacity, colour, shape and design of their bikes, each power biker told a unique story. They rode on their bikes into the city of Calabar from Lagos, Port Harcourt and Abuja as members of five groups.  

    For every revved engine, the roaring sound was not only intimidating, but also peculiar. To the faint-hearted, the accompanying stunts are bitter-sweet and enthralling spectacle to behold. Welcome to the official flag off of Bikers’ Parade, a sought-after event of 2024 Carnival Calabar Festival held on December 29.

    On parade was a team of about 200 Power Bikers who participated in the Bike Carnival, Nigeria’s mini MotorGP. They undertook a 12-kilometre ride several times starting from the Millennium Park at the heart of Calabar amid thunderous cheers from appreciative and excited crowd, who were mainly youths. It was a breathtaking experience for the huge crowd that cheered the bikers who at different times undertook some rare stunts that drew applause.

    The groups included The Metallic Knights, The Diamond, The Invisibles, and The Tinapa, each with a distinctive insignia and safety kits.

    For few hours, they rode along the 12-kilometer street carnival route many times, connecting Mary Slessor Avenue, Marian Road, MCC, the Murtala Mohammed Highway and finally to the 16,000 capacity U.J Esuene Stadium in Calabar.

    The only female among the power bikers at the parade, who is Nigeria’s fastest female biker, Aisha Vatsa, aka Flygirl, described biking as her hobby. Vatsa, the National Secretary of Metallic Knights Motorcycle Club, said she participated in the parade to increase awareness on the tourism and health benefits of biking.

    According to her, the main aim of the club was to promote biking through the carnival platform as they desire that Calabar should be known globally as the bikers’ hub.

    This, she said, can be achieved with the excellent road network, beautiful weather and the hospitable people of Calabar.

    “The main focus for us at the Metallic Knights, is we ride safe, while promoting safe riding. I have been riding power-bikes for over 20 years, and I have been to Ghana, Benin Republic and Ivory Coast with my power-bike, and I aspire to visit South Africa and Europe soon,” she said.

    Vatsa, who is a businesswoman and a Motorbike mechanic, said bikers promote engagement with the public and charities. Reccalling her experienced, she said: “I always do very unusual things. I’m currently the fastest female biker in Nigeria. I won the 600 race a few years ago and I still hold the title till now. It’s about just doing what you love. It’s something I always love to do. And I have been doing this for almost 20 years. Biking is not something you use as an occupation it’s something you do for fun. You do it because you want to explore. You want to go to new places.”  

    Beyond the breathtaking speed and stunts by the riders, other attractions to the parade were the beautiful young ladies who rode on the back of the men as pillions. With their long glittering multi-colour hairs that compete with their heights, and crazy bum shorts, they literarily lured many in the crowd to another level of excitement.  It was additional flavour to the glamour and glitz of the entire visual tapestry. 

    One of the bikers, Eric Anderson spoke on why the parade was safe despite the incredible stunts. “No matter how much we want to entertain you with our bikes, safety is key for us,” he said. He disclosed that there are about 80 bikers resident in Calabar.

    Mfon Leonard, who is Lagos-based, said the bikers’ parade is a beautiful product that sells itself, and one activity many, especially youth and young adults look forward to every carnival edition in Calabar.

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    Leonard, a producer and director, noted that while people see bikers as those that live on the edge of life, the carnival brings the reality closer to people to see bikers differently, at least, as entertainers.

    “And you know, there is something about biking for us. It is a form of releasing that adrenaline. When we are stressed, we ride, and we feel very refreshed,” he added. He commended the Cross River State government for sustaining the carnival for 20 years now and also for introducing the bikers’ parade, which has become another Leonard who is also a major highlight after the street party.

    A member of the Metallic Knights Motorcycle Club, said he rode on power-bike from Abuja to Calabar to participate at the carnival. “Biking, for us, is a form of releasing that adrenaline. When we are stressed, we go on bike and we feel very refreshed. We just want to have fun here,” he said.

    Chairman, Carnival Calabar Commission Sir Gab Onah expressed excitement at the successful outing of the bikers’ parade at the 2024 Carnival Calabar festival.

    He said the parade has grown in popularity over the years, attracting more bikers from across the country and many visitors to Calabar to see the bikers perform, particularly the incredible stunts. Appreciating the professionalism of the bikers, Onah commended the groups for their high level of organisation and zero incidents due to their high regards and compliance to safety measures.