The Nation Newspaper

Category: Arts & Life

  • ‘As long as I can hold a brush, I’ll keep painting’

    ‘As long as I can hold a brush, I’ll keep painting’

    At 79, renowned visual artist and former Director, Lagos Arts Council, Mr. Olaseni Jawando fondly called Seni Jawando, said as long as he can hold a brush, he will keep creating works of art, noting that it is passion driven and no retirement.

    He spoke at gathering of friends, relatives, and old schoolmates at Eko Hotels, Lagos, during the unveiling of his solo exhibition tagged Reflection 1V. Showcasing a collection of 74 pieces, the exhibition celebrated Jawando’s mastery across diverse media, from adire textiles and cowrie art to mixed-media oil paintings and intricate drawings of both past and present works. The event attracted high-profile guests and art enthusiasts, drawn by the richness of his storytelling and artistic vision.

    From vivid portrayals of Nigeria’s landscapes to thought-provoking abstracts addressing societal themes, Jawando’s work continues to transcend time, uniting generations through its timeless appeal.

    For Jawando, Reflection 1V represents a journey of self-discovery, akin to gazing into a mirror and translating the depths of one’s soul into art.

    At 79, Jawando’s passion remains unshaken. “Art is a lifestyle; there’s no retirement,” he affirmed, underscoring his unwavering dedication to his craft. Some of the pieces showcased were completed as recently as 2024. “As long as I can hold a brush, I’ll keep creating,” he declared.

    However, the veteran artist also highlighted the pressing challenges confronting Nigeria’s art community. From the scarcity of purpose-built galleries to the prohibitive costs of exhibitions, artists face steep obstacles. “Most galleries are small and unsuitable for large exhibitions,” he lamented. “Organizing an event like this is costly. For example, this venue costs 3.7 million naira per day, not including other expenses like refreshments.”

    Another pressing issue is the reliance on imported materials, which are subject to fluctuating exchange rates. “Most of our materials are not locally sourced. We buy in dollars, making it even harder for artists to sustain their craft.”

    Despite these challenges, Jawanado draws inspiration from his environment and life experiences. His workshop, located within his home, serves as a sanctuary where creativity thrives. “I spend heavily on materials because quality matters,” he stated.

    When asked about the message he wishes to convey to young artists, he stressed the importance of patience and consistency. “Life is not a race. Success isn’t just about money or material things. Stay consistent, and you will improve. Everyone’s journey is unique, so focus on your own path.”

    In addition to being an artist, he is a retired school principal, a role that has also shaped his perspective on life. “Teaching and art go hand in hand. Both require patience and a commitment to growth,” he said.

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    Jawando’s reflections extended to a call for greater governmental and institutional support. “We need more galleries and spaces where artists can showcase their work without exorbitant fees. Art is a vital part of our culture, and it deserves better infrastructure and recognition.”

    A passionate art enthusiast and lawyer,

    Abdulkarim Bakare, shared his reflections on the exhibition and Seni Jawando’s extraordinary artistry.

    Describing the showcase as a harmonious blend of cultural influences, Bakare remarked, “What I see here is a marriage of two cultures.”

    He praised Jawando’s skillful fusion of his Lagos roots with the distinctive style of the famed Oshogbo School of Art.

    “The artworks beautifully capture his Lagos heritage while honoring the Oshogbo School through vibrant colors, intricate adire prints, and innovative use of textiles,” Bakare noted, underscoring the depth and richness of Jawando’s creative vision.

    Bakare emphasized the artist’s homage to the foundational elements of the Oshogbo School, which gained prominence in the 1960s and 70s for its vivid colors and innovative use of textiles.

    The works on display seamlessly merge this tradition with modern Lagos themes, showcasing scenes such as the Lagos Polo Club and Tinubu Square among others

    “The artist demonstrates great skill, experience, and passion,” Bakare noted. “There is a deep connection to his roots, yet his work reflects contemporary Lagos in a brilliant and relatable way.”

    He also referenced the influence of legendary artists from the Oshogbo School, such as Twin Seven-Seven, Morenikeji Oyelami, Susan Wenger, and members of the Mbari Mbayo movement.

    Among the many compelling pieces, Bakare was particularly struck by one titled *The Lady and the Camel*. This artwork resonated deeply with him for its symbolic representation of female emancipation. “In this part of the world, camels and horses are traditionally ridden by men. Here, a woman rides the camel, which speaks volumes about the artist’s forward-thinking approach,” he explained.

    For Bakare, the piece also held personal significance. He recounted a family story about his ancestor, Alhaji Muhammad Salu Onirakumi, the first Chief Imam of Lagos. Onirakumi, whose name means “owner of the camels” in Yoruba, was the first to bring camels to Lagos in the 1800s after completing his Hajj pilgrimage. “When I saw that piece, it immediately resonated with me,” Bakare shared.

    The Reflection 1V exhibition not only celebrates the vibrant art scene in Lagos but also serves as a bridge between historical and contemporary artistic expressions. Bakare commended the artist for his ability to honor tradition while innovating within modern contexts. “This exhibition is fantastic. I recommend it to everyone who appreciates art and culture,” he concluded.

  • Breaking barriers using literature

    Breaking barriers using literature

    Author, A future in Chains, Ndifreke Ukpong said that his childhood experiences shaped his perspective and inspired his writing.  Ukpong who spoke about his inspiration for the book, vision for the future of storytelling, and the challenges faced by writers and readers in Nigeria, highlighted the importance of resilience, education, and accessible literature in addressing societal issues.

    He said: “I grew up in a rural area and lost both my parents at a very young age. Being an orphan came with immense challenges, not just in terms of survival but also in how society perceived me. Many people doubted my potential or thought I wouldn’t amount to much because of my situation. That reality was tough, but instead of succumbing to it, I decided to use it as fuel to push myself forward.”

    Ukpong stated that writing became a form of expression and a way to inspire others. “For me, storytelling was not just about putting words on paper. It was about giving voice to experiences that are often overlooked. I wanted to show orphans like myself, and anyone facing difficulties, that their circumstances do not have to define them. Life is tough, but with courage, determination, and a strong sense of purpose, you can rise above challenges. That’s the message I want to convey through my work.”

    His novel, A Future in Chains, tells the story of Nkowo, a widow who challenges oppressive traditions to protect her daughters. Ukpong described Nkowo as a character who embodies resilience and the courage to stand against societal injustices.

    “Nkowo’s story mirrors the strength I saw in women around me growing up, women who faced unimaginable struggles but never gave up. Through her, I wanted to explore themes of resilience, faith, and the power of questioning harmful norms. Her daughters, Udiomka and Udiomke, are symbols of hope and transformation, demonstrating how education can empower individuals to break free from the chains of poverty and tradition”, he said.

    Ukpong believes that literature has the potential to complement formal education by fostering critical thinking and empathy.

    “Books are more than just entertainment. They are tools for learning and growth. Stories have a unique way of teaching us lessons that go beyond the classroom. They help us see the world through different lenses, challenge societal norms, and inspire us to think creatively about solutions to the problems we face.

    “In the book, the characters confront issues like gender inequality and harmful traditions, which can spark meaningful conversations among readers, especially students.”

    Despite his passion for storytelling, Ukpong expressed concern about the declining interest in writing and reading in Nigeria. He noted that many talented individuals are discouraged from pursuing careers in writing because it is often perceived as unprofitable.

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     “The reality is that writing in Nigeria is not easy. Many people view it as a dead-end profession because it doesn’t always pay the bills. This perception, combined with the economic challenges we face, makes it hard for writers to thrive. It’s heartbreaking because storytelling is such a powerful tool for change, but it’s being stifled by financial constraints,” he added.

    Ukpong highlighted the challenges of publishing and distributing books in Nigeria, citing high costs and limited affordability among readers, which restrict access to potentially impactful stories. To address this, he is developing a free offline app to make his novels accessible to everyone, emphasizing that storytelling should be inclusive and break financial barriers.

    “The cost of editing, printing, and marketing a book is high, and with so many families struggling to afford basic needs, books are often seen as a luxury. This creates a cycle where stories that could educate and inspire are not reaching the people who need them most. It’s frustrating as a writer to know that your work has the potential to make a difference but is limited by economic barriers.”

     “Writing can’t directly fix the economy, but it can inspire solutions,” he said. “Literature has the power to raise awareness, spark critical conversations, and encourage people to think differently about challenges. Writers also have the responsibility to hold up a mirror to society, highlighting issues like corruption, inequality, and poor governance. We can’t fix everything, but we can inspire the conversations and actions needed to create change.”

    To aspiring writers, Ukpong warned that ‘If you want to write, do it with purpose, adding that ‘don’t just write for the sake of it, think about the impact you want your stories to have. Whether it’s educating readers, inspiring change, or preserving culture, focus on creating meaningful work.’

    “Writing might not make you rich, but it can make a difference. Your words have the power to touch lives, spark change, and leave a lasting impact on society. That, to me, is worth more than anything else,” he said.

  • Smithsonian to honour Onobrakpeya

    Smithsonian to honour Onobrakpeya

    National Museum of African Art at the Smithsonian, US will honour one of Africa’s greatest artistic icons, Prof. Bruce Onobrakpeya in a grand closing ceremony for his exhibition tragged, The Mask and the Cross. The ceremony  will hold from January 10 to 12, 2025, as tribute to the legendary artist whose extraordinary work has redefined African art on a global stage.

    Prof. Onobrakpeya, a pioneer of contemporary African art, holds the prestigious Smithsonian Lifetime Achievement Award and the UNESCO Living Human Treasure Award. Known for masterfully blending African spirituality, cultural heritage, and modern artistic techniques, his art has become a beacon of inspiration for generations of artists, collectors, and cultural enthusiasts around the world.

    The event will bring together a gathering of art-world heavyweights and cultural influencers, including Dr. Perkins Foss, a celebrated art historian, Mr. Aki Debayo Doherty, a globally respected art collector, Lauren Tate Baeza, curator of The Mask and the Cross, who is travelling from Atlanta for the event.

    The ceremony will also welcome alumni of St. Gregory’s College North America, distinguished members of the Nigerian diaspora, and elite art collectors—all uniting to honour Prof. Onobrakpeya’s unparalleled contributions to art and culture.

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    Reflecting on this recognition, Prof. Onobrakpeya shared:

     “Art has been my lifelong journey of connecting history, spirituality, and humanity. Being honoured by the National Museum of African Art is a profound milestone, and I hope this exhibition continues to inspire a deeper appreciation of African culture worldwide.”

    The celebration is a culmination of months of meticulous planning, led by Dr. Mudiare Onobrakpeya, Kagbare Onobrakpeya Rowland and their Atlanta-based team. Their efforts also extended to coordinating exhibitions at both the High Museum of Art in Atlanta and the Smithsonian National Museum of African Art in Washington, D.C.

    Prof. Onobrakpeya’s illustrious career reflects the transformative power of art. His works transcend cultural and geographical boundaries, offering a timeless message of connection and innovation.

  • Segun Johnson expresses joy over recognition by Brampton Mayor

    Segun Johnson expresses joy over recognition by Brampton Mayor

    Celebrated artiste and “Ota Lenu” crooner, Segun Johnson, has added another remarkable milestone to his illustrious career.

    Following his sold-out show in Toronto, Canada, in August 2024, the Mayor of Brampton, Patrick Brown, awarded Johnson a prestigious Certificate of Recognition for his contributions as an outstanding entertainer and changemaker.

    Although Mayor Patrick Brown could not be physically present at the event, his commendations were delivered by Garry Collins, Director of Communications, Office of the Mayor, City of Brampton.

    Reliving the moment, Segun Johnson expressed his gratitude and reflected on the significance of the recognition:

    “I had a tour in Canada last August, and this recognition by the Mayor of Brampton proves that our performances have transcended the walls of Nigeria. Amazingly, Brampton has a large population of Nigerians, and the Mayor spoke very highly of the Nigerian community. This made me appreciate our culture even more.”

    The gifted artiste also noted that a moment he couldn’t forget was seeing the Mayor’s team dance to some of his hype lines.

    “One remarkable moment for me was seeing the Mayor’s team dancing to some of my hype lines. It shows that my style of music resonates with a global audience, even with people who are neither Nigerians nor Africans. This experience confirms that our culture is appreciated by those who admire us from afar.”

    Inspired by this recognition, Segun Johnson has set his sights on expanding his reach globally.

    “I have decided to embark on more tours, targeting more cities and bringing them excellent entertainment through my unique style of music and audience engagement,” the singer announced.

  • Shaybilly starts the year with a new song “4 Meter”

    Shaybilly starts the year with a new song “4 Meter”

    Shaybilly has started the new year on a high. With the new single, “4 Meter”, released Saturday, 4 January 2025, he’s on a mission to become an Afrobeats rockstar. Coming out all guns blazing with the sonically compelling two-minute, fifty-two-second Amapiano single that will get everyone dancing all night reveals his plan to lay down a marker as one of Afrobeats top dogs to look out for this year.

    Produced by Vikwynbeat and published by Byvance, Shaybilly was spot-on lyrically. “I was done compiling songs for my forthcoming album, but when Vikwynbeat previews the beat to this song, it is irresistible. From the moment I heard it, I had the inspiration for the lyrics. The message was about being relentless despite any hardship or obstacles. Honestly, the recording process was fun and fulfilling.” – Shaybilly

    Christened Seun Oyedokun, a native of Oyo State, ShayBilly is a seasoned singer, songwriter, and producer who’s been making waves in the music world for years. His journey began as the lead singer of a boy band, where he honed his craft and built a foundation in performance. Transforming into a solo artist, he’s experimenting with blending several genres and breaking new ground, and his career is on an upward trajectory.

    “Throughout my career, I’ve been fortunate enough to perform on stages big and small, from local venues to larger festivals like the NEA Awards (USA), Calabar Music Festival (Nigeria), South Africa Club Tours, and London Venues. Each performance was an opportunity to connect with my audience across the globe. The single, “4 Meter”, off my forthcoming album, is another opportunity for connectivity with the audience.” – Shaybilly

  • Makinde Ifeoluwa (makidamaker) and the Quiet Weight of Seeing 

    Makinde Ifeoluwa (makidamaker) and the Quiet Weight of Seeing 

    In a world that is increasingly filled with visual noise on the airwaves and the internet, a world in which color and excess seem to have taken up so much space that there is no room for subtext, Makinde Ifeoluwa’s photography is a breath of fresh air because of its insistence on subtext. The work is a distillation of the world into its essence: light, texture, form, and meaning. In his recent body of work, the Nigerian photographer/filmmaker invites the viewer into intimate contact with the mundane world and encourages a reevaluation of what remains, what decays, and what remains unseen.

    In Till Death Do Us Part, there are two palm trees that rise up against a white sky that is almost a void. The composition is stripped to the bone: there is no color, there is no horizon, only the meeting of lines and light. From a low vantage point, the two palm trees rise up like sentinels, each unique but inseparable from the other. The viewer is given a sense of scale that is small but intimate, as if they are included in the same space of air that the two trees share. There is a sense of architecture to the composition: the two trees rise up like columns, the leaves of the tree reaching up to the ornate ceiling of some forgotten temple. But there is a sense of warmth to the precision of the image. The slight asymmetry of the two trees, the way each of the tree tops leans slightly in toward the other, is a commentary on perfection but intimacy. The image is a commentary on the idea of companionship, the way that the bond between two people can last even when they are rooted apart. The restraint of the image turns what could have been a commentary on the symmetrical into a commentary on love. The two trees, reaching up toward the same light, serve as a commentary on the human heart.

    While Till Death Do Us Part is a prayer, Ifeoluwa’s second photograph, Apocalypse, is its answer. The image is a landscape of exhaustion, with weeds half-grown and drying out before half-built constructions. In the background, a twilight sky glows with an orange hue, its light hidden behind a cloud. The effect is disquieting. The scene could be a construction site or a ruin. The cloud could also be a mushroom, a metaphor for explosion. The intention is clear.

    With Apocalypse, Ifeoluwa has moved from realism to metaphor. The title has given a new dimension to the image, that of revelation or uncovering, from the Greek word apokálypsis. In this image, destruction is not spectacle; rather, it is inevitability. The half-built constructions and exhausted flora are a reminder of a civilization that has outlived its faith in permanence. A barren tree, stretching towards light, is a witness and participant in this fading world.

    The last piece, Negro Element, is a work that turns inward. It is a close-up so close that it is almost abstract, a field of fine lines and ridges, light playing across its surface. There is nothing to see, no subject matter, and no identifiable object. Just texture, the texture of the surface of a black person’s skin.

    In this work, Ifeoluwa has paid homage and reclaimed, all at once. He has deliberated on Blackness, not as a color but as a substance. The work challenges us to look beyond color and to see texture, tenacity, and complexity as the real essence of Blackness. By abstracting the body, he has made it infinite. The surface, so easily overlooked, has become sacred.

    These images together constitute a quiet trilogy, a trilogy about endurance, about love, about civilization, and about identity. The genius of Ifeoluwa’s art is that it finds meaning in the subtext, making the ordinary become the enduring. This art doesn’t seek attention; it quietly earns it.

  • At Azerbaijan, Popoola pushes for safer environment

    At Azerbaijan, Popoola pushes for safer environment

    A collection of 30 artworks of Nigerian sculptor Dotun Popoola, currently on show in Azerbaijan, is reinforcing global consciousness for a cleaner and safer environment. Venue of the show, tagged Reclaimed Beauty, which runs till October, is the famous Heydar Aliyev Centre, Baku, Azerbaijan, and attracts top government functionaries, environmentalists, art collectors, artists and enthusiasts, Assistant Editor (Arts) OZOLUA UHAKHEME reports 

    After the recently concluded 29th Conference of the Parties on Climate Change (COP29) in Baku, Azerbaijan, Nigerian sculptor Dotun Popoola is engaging the city of Baku while using his artworks to increase awareness on environment and climate change.

    The show is a tribute to the human imagination, which can create beautiful examples of art from ‘nothing’ turned into waste. Thematically, Popoola’s exhibition aligns with Azerbaijan’s ‘Green World Solidarity Year’ and resonates with themes of environmental awareness and climate change. It opened on December 10. Popoola’s exhibits at the show highlight other aspects of human endeavours beyond environment and climate change. There are works that document and celebrate some individuals and their contributions to the upliftment of the socio-cultural landscape of the society.

    A large size portrait of the legendary Afrobeat king, the late Fela Anikulapo Kuti is among the 20 metal sculptures in the collection. Fela The Icon, which weighs 250kg measuring 60x132x84 inches is a celebration of the maverick musician’s signature outfit and stage posture with his saxophone hanging on his neck. The piece is a well deserved tribute to Abami Eda, one of Nigeria’s musical exports to the globe. It took the artist four years to complete the piece (202O to 2024).

    But Dafidi The Recycler, another giant work, a self portrait of the artist- Dotun David Popoola, speaks to the theme of the exhibition. The work shows the recycler’s routine search while restoring life to found objects and waste around the city. Interestingly, “Dafidi The Recycler” is one the heaviest of the lots, weighing 300 kg, measuring 204x84x84 and took the artist two years to execute.

    In Ajala Travels, he mirrors the physically look of a Nigerian socilaite known as Moshood Adisa Olabisi Ajala (1934-1999), and his Vespa scooter which he used to travel all over the world. Ajala, as popularly known, hailed from Iseyin in Oyo State and achieved his ambition of traveling across the world in a trip that ended in 1963.

    It essentially serves the purpose of achieving a history and documentation of a personality. The artist uses the work to reinforce the belief that what you put into the world is what you get from it. If it was possible for Ajala to travel the world on a scooter, it would be possible for anyone to follow his ambition by believing in him or herself.

    Other interesting pieces include Happy Home, Wolf, Love Bouqute, Two single seater and A single table, Alake the tech babe, The Lagos to lemon (Cow boy), Goat, Buffalo, Saluki dog, Ostrich, Carbon footprint and Falcon.

    Popoola also expressed his creativity on other media such as water colour, drawings using pen, charcoal and marker to spotlight socio-cultural issues in his environment. Such drawings include The junkman of Africa, Ori, Omo Boola,  Efon, Patako Esin and Born in Lagos (1-3), a series on the popular Lagos mini bus, called Danfo, showing its characteristic two black stripes on yellow colour background. It is produced in acrylic, auto based paint and pen on canvas.

    Expectedly, as a hybrid metal sculptor, Popoola’s art forms rely heavily on junks such as motorcycle tanks, brake pads, car struts, bolt and nuts, electric generator parts, which have become the visible elements of infrastructural deficiency and decay in his home country.

    According to him, these scraps that have littered the environment have since become his tool of creative expression in writing the story of Nigeria.

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    “A glimpse on my realistic synergetic sculptures gives a feel of life after death. These scrap metals have come alive in forms of beastly creatures, domestic and wild animals, and human forms.

    “Often times, I select colourful scraps with special attention to their colour symbolism but sometimes I deliberately add Colour to the finished product to beautify and partially conceal the ugly sides of these scrap metals. My sculptures also celebrate anatomical excellence, and with breaths of life.

    “My recycled metal scrap sculptures have presented me the opportunity to become a social commentator. My body of works addresses the issue of waste management and conservation, infrastructural decay, and the need to repurpose and recycle the large army of wastes that make our environment unsightly and which threaten the ecosystem.

    “My artistic practice is based on a personal philosophy that art should be explored as an agent of change, and as a tool for socio-cultural review, reengineering and as a form of protest against environmental decadence and degradation,” he said.

    Popoola is a product of the colourist school, Auchi Polytechnic, Auchi, Edo State where he had his National Diploma in Painting and General Art  graduating as the overall best student with distinction. He had his first and second degrees in Fine and Applied Arts with specialisations in sculpture and painting respectively at Obafemi Awolowo University, Ile-Ife. He also trained in several art studios before and after his university education.

    He was certified as a hybrid metal sculptor at John Lopez Studio in South Dacota, USA, in 2015. He has won several awards, including the Director General’s Award for the Best Artist of the Year in the 2009 NYSC Arts Competition, which was the maiden edition.

    Till date, he has participated in 30 group, 14  joint, and six solo exhibitions. He is passionate about touching lives through his artistic and leadership skills, turning trash into treasures and rubbish into rubies. This led him to facilitate art workshops for students, professionals, NGOs, healthcare institutions, hospices, orphanage homes, rehabilitation centres, and schools locally and internationally.

    Highlighting his efforts at saving tons of waste from dumpsites and junkyards across various states in Nigeria and globally, he said:

    “Additionally, I discussed my role in mentoring young recyclers and building a movement of environmental activists committed to sustainability. One of the major highlights of the conversation was his upcoming collaboration with the Osun State government to transform the Onibueja dumpsite within the Osun Metropolis into a green hub.

    “This vision aims to create a ‘Mini Disney’ in Osun, utilising resources within the state and supports from private sectors and the Federal Government of Nigeria.”

    He was one of the volunteers during Scrap Festival 2023 in Detroit, USA. He has equally executed several monumental sculptures and large murals in Nigeria, the United States of America, India, Turkey, Qatar, and Dubai. Popoola continues to provide landmark mentoring opportunities for professional development for local and international artists in his studio in southwest Nigeria.

    For the past 12 years, Azerbaijan has been holding the international festival ‘From Waste to Art’ with the support of the Heydar Aliyev Foundation, the purpose of which is to attract the attention of the general public to environmental issues.

    Popoola is no stranger to global arts stage as he has represented Nigeria in various art exhibitions, as well as the Metal Art Exhibition in Qatar in 2019, the Global Arts Festival in the Indian state of Gujarat in 2020, Be Together (Coexistence) in Turkiye in 2021, and other exhibitions.

    In a report titled “Dotun Popoola: The Aesthetic Explorer and the Quest for Ecological Sustainability,” Michael Olusegun Fajuyigbe, described Popoola as a synergetic metal sculptor who has carved a niche for himself with his monumental metal sculptures. “Rising from a state of hopelessness, he has become a beacon of hope, dedicating himself to serving humanity through his artistic practice and community services. He is passionate about transforming lives through his artistic and leadership skills, turning trash into treasures, rubbish into rubies, and waste into wealth,” he added.

    For Dr. Kehinde Adepegba of the Department of Art and Industrial Design, Lagos State University of Science and Technoology, Ikorodu, Popoola celebrates advancement in the art of revivification.

    He noted that neo-metal-art is the dimension of metal construction introduced into Nigeria by Popoola as influenced by John Lopez of South Dakota USA, his mentor, whereby scraps of metal are welded together in whole and in parts to create highly compositional artwork in naturalistic forms and painted in realistic colours sometimes retaining the original colours of some of the metal scraps.the art of revivification.

  • Ogbomoso Carnival of shared values

    Ogbomoso Carnival of shared values

    The ancient city of Ogbomoso came alive as the inaugural Ogbomoso Cradles Carnival culminated in a grand finale penultimate Monday. The five-day cultural extravaganza celebrated the rich heritage of Ogbomosoland leaving a lasting impression on participants and spectators alike.

    The Soun Ogunlola Stadium, venue of the grand finale, witnessed display of traditional splendour as different groups and associations adorned in their finest ofi attires and ankara fabrics, creating a kaleidoscope of vibrant colours.

    The event featured performances by renowned artists, including Alhaji Ramoni Akanni (RK1) and Saheed Akorede (popularly known as Osupa) alongside masquerade displays and cultural presentations by the Oyo State Cultural Troupe. These performances left audiences in awe, cementing the event as an unforgettable celebration of Ogbomoso’s cultural legacy.

    No fewer than 50 clubs and associations from within Ogbomoso and the diaspora paid homage to Oba Ghandi reinforcing the success of the carnival as a symbol of unity and cultural pride.

    Soun of Ogbomoso, Oba Ghandi Afolabi Olaoye (Orumogege III) expressed his delight at the carnival’s success. He commended the organisers, participants, and spectators for their contributions, emphasising the importance of preserving Ogbomoso’s cultural heritage for economic growth and unity.

    Carnival Committee Chairman, Mr. Williams Adeleye, said that ‘as we come together for this grand finale, let us remember that our culture is not just a reflection of our past but also a beacon for our future. It invites us to embrace our uniqueness while celebrating shared values of love, unity, respect, and compassion.’

    Iba Gani Adams, the Aare Ona Kakanfo of Yorubaland, praised Oba Ghandi for his visionary efforts in promoting culture and tourism. He described the carnival as a fantastic initiative that fosters unity and economic development in Ogbomosoland.

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    “This impressive outing has shown that our quintessential monarch is fully prepared to move Ogbomoso forward,” he remarked, commending traditional rulers and stakeholders for their support.

    Oyo State Commissioner for Culture and Tourism, Hon. Wasiu Olatubosun who actively participated in the festival from its inception, described the Cradles Carnival as a groundbreaking initiative. He highlighted its potential to drive growth, rapid development, and elevate Ogbomosoland onto the global map of culture and tourism.

    Olatubosun commended Oba Olaoye for his visionary leadership and the carnival committee for organizing such a remarkable event—the first of its kind in Ogbomoso. “This initiative will not only unite our people but also attract significant attention to our cultural heritage. I am confident subsequent editions will be even more spectacular,” he stated, urging stakeholders to provide more support for the monarch’s vision.

    Other dignitaries including Senator Abdulfatai Buhari, Hon. Olamiju Ayodeji Alao Akala, Hon. Sunday Makanjuola, and Hon. George Ogunlade, lauded the monarch’s leadership and pledged their continued support for the annual event and other developmental projects.

  • Christmas: Unique Precious Care Foundation gives hope to children 

    Christmas: Unique Precious Care Foundation gives hope to children 

    It was a fun-filled day and a memorable experience for children in Akwa Ibom State when Unique Care Precious Foundation treated over five hundred children to a Christmas Party in Uyo.

    The Children’s Christmas Party organized by Unique Precious Care Foundation founded by Pastor (Mrs) Florence Umana is a yearly all-inclusive Christmas Party where the foundation gathers children from all socioeconomic backgrounds as well as children from orphanage homes across the three Senatorial Districts of Akwa Ibom State to fest and celebrate the birth of Christ together.

    Earlier in her address, Mrs Florence Umana, the Chairman of Unique Precious Care Foundation noted that the Children’s Christmas Party celebration comes with a back-to-school empowerment programme for children to ease their transition back to school. 

    Mrs Umana who described education as the cornerstone of the foundation’s empowerment programmme noted that the empowerment would provide children with the needed resources and encouragement to thrive in their academics.

    She said: “It is with great joy and gratitude that I welcome you all to this year’s Children Christmas Party and back-to-school empowerment programme organized by Unique Precious Care Foundation. 

    “Today we gather here not just to celebrate the festive season but to renew or commitment to empowering the most vulnerable members of our society, our women, children, youths and persons with disabilities.

    “At the help of our foundation lies a vision of hope, equality and opportunity. We believe that every child deserves the right to dream and to achieve their full potential. 

    “Today’s event is a testament to that vision.  Beyond the joy and laughter of the Christmas season, we aimed to ease the transition back to school for many of these children by providing them with the resources and encouragement they need to thrive. Education is the cornerstone of our empowerment and we are committed to breaking barriers that stand in the way of their success.”

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    The organizers of the Unique Precious Care Foundation who celebrated and empowered the children with educational materials like exercise books, pens, pencils, erasers, launch packs and school bags used the opportunity to thank Mr Umana Okon Umana and other partners, and volunteers for partnering with the foundation to make a tangible difference in the lives of the children. 

    Mrs Florence Umana listed other partners of the foundation to include: Dr.Kaphnie Umana, Engineer Anietie Umana, Alhaji Nasiru Haladu Danu,  Dr. Magnus Ikezie, Engineer Ubong Ubiam, Mrs Dorathy Ubiam, Mr Ini Ubiam and Mrs Iniobong Ita Udosen.

    In her goodwill message, Mrs Inemesit Enobong Uwah PhD, wife of the Secretary to Akwa Ibom State Government who is a patron of the foundation thanked Unique Precious Care Foundation for demonstrating the love of Christ to the children through her foundation. 

    Dr. Inemesit Uwah who promised to support the foundation urged others in the society to model the foundation’s initiative reaching out to the needy within their reach.

    Earlier in his speech, the Project Manager of the Unique Precious Care Foundation Dr. Emem Wills, revealed that the foundation is focused on providing support to women, children, youths and underprivileged people in Nigeria and beyond; by creating lasting change through improvement in educational come, enhancing health care services and promoting economic sufficiency through targeted programmes and partnership. 

    He hinted that in 2025, the foundation will reach out to schools and hospitals to ensure that children, youths and women have access to quality education and healthcare delivery.

    The high point of the Christmas Party was when Mrs Florence Umana, flanked by Mrs Inemesit Enobong Uwah took to the dance floor with the children who were beautifully dressed in T-shirts of various colours and Christmas hats which the foundation provided for over five hundred children who attended the party.

    The Children’s Christmas Party which took place at the home of Mrs Florence Umana in Ewet Housing Estate Uyo, also featured presentations by children from the three orphanage homes who were: Mother Charles Walker Children’s Home Uyo,  Motherless Babies Home, Mkpok Onna and Holy Family Sisters of the Needy, Ikpe Ikot Nkon.

  • It has been my wish to watch Calabar Carnival, says nonagenarian

    It has been my wish to watch Calabar Carnival, says nonagenarian

    For about eight hours, revellers in Calabar, the Cross River State capital, who came out in thousands,  defied the scorching sun to celebrate the biggest Street Party,  at this year’s Calabar Carnival . As early as 10am, all the major roads linking the Millennium Park, and the UJ Esuene Stadium  were overrun by a large army of revelers including nursing mothers, pregnant women, children, young and old. 

    All through this route, fun- seekers formed rings of human fence on the roads for the participating groups and motorised floats that performed on the streets. From Millenium Park through to Eleven Eleven junction via Calabar Road to De Choice Foods junction, Mary Slessor Avenue/ Roundabout where the first adjudication exercise is done, and to UJ Esuene Stadium for the final lap, the enthusiastic crowd continued to increase.

    In fact, the ancient city of Calabar was literally shut down on Saturday for the main show of the carnival.

    Interestingly, the flagship event attracted the presence of former first lady Hajia Aisha Buhari, two state governors-Usman Ododo of Kogi, AbdulRahman AbdulRazaq of Kwara, and some members of the diplomatic community.

    The one-month long celebration themed “Our Shared Prosperity” provided ample business opportunities for many small scale entrepreneurs such as food and drink vendors, gifts, snacks sellers, hotel operators, fashion designers, makeup artistes, hair stylists, artists and craftsmen who designed floats among others.

    The multiplier effects on Cross River  State economy are huge and impactful. 

    At the close of the event in the early hours of Sunday at the stadium, the  Band of the year at the 2024  Calabar carnival was clinched by Calas Vegas making it a back-to-back victory after winning it last year. Seagull Band came second followed by Freedom Band in third position.

    But in the junior category, Calas Vegas Band and Seagull Band  emerged first and second positions respectively, thus reenacting the same rivalry between the senior sides. Bayside came third.

    For the participating states, Akwa Ibom State won the first position in cultural carnival while Osun and Delta came second and third respectively. Yakurr won the first position in the Local government category while Calabar south and Odukpani got the second and third positions respectively.

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    Earlier at the opening on Saturday, Gov. Bassey Otu of Cross River State said the yearly Calabar Carnival has continued to attract added values each year while building on the founding fathers’ vision of the street party. He stated that partners and sponsors of the carnival have increased over the last two decades hoping that next year edition will be bigger and better with possible participation from the diaspora.

    Governor Otu who spoke while declaring open the carnival’s street party on Saturday in Calabar, assured revellers of a spectacular outing.

    The 2024 Calabar Carnival ended yesterday.

    This year’s Street Party featured seven  competitive bands and seven non competitive bands that performed along Eleven Eleven junction through De Choice junction via Mary Slessor Avenue to the UJ Esuene Stadium in Calabar. Participants are expected to the scores by adjudicators at some points before the final one at the Stadium. And at the grand finale, the all night leg of the carnival  attracted unprecedented crowd with spill over on the premises and the road.

    Earlier in October, the Carnival witnessed three editions of dry run to test run how the carnival would be.

    Governor Otu who was accompanied to the ceremony by his Kogi and Kwara State counterparts and the former first Lady, Aisha Buhari said: “Today is a great day in the Calendar history of Calabar. We are indeed very, very humbled that we are celebrating about two decspectacular.ades of this particular event.  And I know that we’ve been building and adding value daily.

    “The buyers have increased. And we know even next year, because the diaspora is pressing very, very hard, we might be able to add the diaspora band that will come on full strength.

    “But as Cross Riverians, we want to thank all those who have come, and we say come and live and share with us. I declare this open in the name of the Father, in the name of the Son, and in the name of the Holy Spirit.”

    While appreciating the dignitaries and  tourists at the event, he urged them to take out time to explore the tourism assets in Calabar.

    He also commended the efforts of previous governors of the state for  sustaining the carnival over the years.

    “For those that are coming for the first time, please don’t go very quick, try and stay back and enjoy the full hospitality of our people.

    “Let me salute our forefathers. His Excellency Governor Duke, His Excellency Governor Imoke and Prof. Ben Ayade, for building on what was started by Governor Duke until it got here,” he said.

    Chairman, Calabar Carnival Commission Dr Gab Onah, appreciated the sponsors and partners of the carnival such as  Zenith Bank, MultiChoice, Afrixim Bank, Arias IIP, the IAI International Insurance, MTN, First Bank, United Bank of Africa, Nigeria Breweries among others. He charged them to take ownership of the tourism and hospitality sectors for sustainability.

    “We are experiencing a rebirth. We are here to speak to the ignition of community spirit, to speak to the community of Africa, and what we are ready to offer the world.

    “The dance party on the streets tells the story. The Carnival is allegorical, it is didactic, it is educational, it is theatre for development.

    “No wonder Afrixim Bank, Arias IIP, the IAI International Insurance, MTN, First Bank,  UBA are here as sponsors. We thank you for this, but we believe that we can take over this sector and run with it for sustainability, competition, and appreciation by the communities,” he said.

    In his goodwill message Gov. Usman Ododo of Kogi state commended Gov. Otu for uniting the people of Cross River  through the  carnival.

    “This is a historic event. Here, I can see love, understanding, compassion, and liberty.

    “Your excellency, Gov. Otu, your leadership style has paid off, and I must commend you for unlocking the potentials in the youths. You are actually taking the lead,” he said.

    Gov. AbdulRahman AbdulRazaq of Kwara said:, “I am glad to be back here. I am witnessing sustainability and progress here. This puts Nigeria on the global map, and it improves the Internally Generated Revenue (IGR) of the state. This is a beautiful day, so let us celebrate”.

    Sustaining a Global Brand

    Going by the diverse composition of  participants and sub themes addressed at the event, as well as the people’s undying love and reception for the carnival, it shows a strong by in and inconclusiveness in the last two decades.

    In particular, the youths formed the fulcrum of most groups events, which points to the fact that it’s a people’s event that prides on continuity. Even the physically challenged in the state are never discriminated against as they have always participated in the carnival. 

    A physically challenged group, Paradise City of the Para-Soccer Players participated in the carnival featuring its 25 members.

    Leader of the group, Sax Gambo said that participating in the carnival was a form of empowerment for the group.

    “Revellers get to know that they can also feature in cultural events.

    “I thank the Calabar Carnival Commission for making the physically challenged have some sense of belonging.

    “Honestly, we feel valued and respected participating in the carnival. This is a way of creating a fair, equitable, and just society.

    “This is our fourth year participating in the carnival, we are looking forward to another edition in 2025. In spite of covering 12km parade route, we are not tired.”

    Also, Aliu Umar, a member of the group, expressed excitement at his participation at the street party.

    “Assuming we were left out of this colourful event, I will feel really bad,” he said.

    Despite the distance and the economic situation, Cross Rivereans outside Calabar were not ready to miss out of this year’s edition of the carnival. One of such is a 89-year old retired civil servant Mrs Agnes Akpama from Yakurr local government area of the state  who expressed her joy at the colourful presentations. She said it was her first time of witnessing the carnival live in the last 20 years and that it was made possible by her daughter also a retired medical officer with the Nigerian Army. “I cannot describe the carnival. It is wonderful and colourful. The carnival is a spectacle and I won’t miss any future edition because it’s more than cultural display,” she said.

    Her daughter, Grace  Akpama who was also in the crowd said until this year, she has been watching the carnival on TV  while still in service.

    “Today, I feel on top of the world. I never knew the carnival was that colourful..Henceforth I cannot afford to miss future edition since I am home retired from service,” she assured.

    For Mr.A Etim, a resident of Calabar  this year’s carnival is awesome presentation that combines music, vibrant costumes to give entertainment and reinvigoration especially at this trying time. “It is a a soothing balm and the people needs it in abundance now,” Etim added

    A Chinese business man Mr. Risen Fan, who was in Calabar in company of his partner for the carnival said the carnival was more than a display of culture. “I am impressed by the vibrant colours and the different costumes displayed by the participants.

    No fewer than 9 States and 18 Local Government Areas in Cross River State participated  in the Calabar Cultural Carnival with their distinct costumes, showcasing their cultural prowess while embodying this year’s theme.

    As a motivation for participants,  Governor Otu on Thursday urged the participants to seize the opportunity presented by the escalated prizes for winners to display their utmost talents.

    “I pledged last year to introduce enhancements to our offerings, and I believe we have delivered on that promise,” he said.

    Unveiling the new incentives, the governor announced that his administration has augmented the prizes this year to ensure heightened competition, with plans for further enhancements in the upcoming year.