The Nation Newspaper

Category: Arts & Life

  • The Think Art Festival discovers, nurtures emerging artists in Nigeria

    The Think Art Festival discovers, nurtures emerging artists in Nigeria

    The Think Art Festival, an annual virtual art stage for young creators, has reasserted itself as a springboard for passionate nascent creatives, as it empowered emerging student artists in Nigeria for its 2024 edition.

    Launched in 2021, the Think Art Festival is acclaimed to be Abuja’s first-ever virtual art contest, building a community of student artists with flair and passion for painting , sculpture, or drawing.

    Being a virtual contest, the programme is only done via Instagram and Facebook with students expected to submit a work they hand-made with any material they choose and record a 90-second video of themselves while creating the work as part of the entry requirements.

    Contestants include students between 7-17 years , given the opportunity to showcase their artistic prowess, win prizes and join a growing community of young artists.

    The 2024 edition, held on December 26, brought together talented youngsters, with Aletan Oluwajuwonlo Jewel emerging the winner of the contest, clinching the grand prize with his iconic work, ‘The Nature’s Heart Beat’.

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    “I had a rewarding experience participating in the Think Art Festival.I’m an artist who specializes in figure painting, but the contest theme challenged me to create a painting outside my area of art specialty and this I found refreshing and as a result,” Jewel said.

    He added: “ I felt inspired to explore my newly discovered artistic skill in landscape painting. I also felt inspired to try my hands on other areas of visual arts to see how far my artistic skill can take me.

    “Finally, this is to confirm that I’ve received my cash prize and I am using this medium to thank the organizers of the Think Art Festival. I’m glad to have been a part of this year’s festival. Love you all,” he said.

    Armstrong Agoreyo, founder of the Think Art Festival, said: This is not “just another contest.It’s an annual movement created to celebrate student artists across Nigeria.”

    According to him, the festival aims to develop, expose and inculcate the flair and love for art amongst talented pupils and students in both public and private schools.

    For Agoreyo, the path to the creative industry wasn’t paved with encouragement; it was built on the resilience of a child who was told “no.”

    Having been discouraged from pursuing art early in life, those quiet moments of rejection eventually became the fuel for his life’s mission: ensuring no other young creator feels invisible.

    For him, the Think Art Festival is more than a platform for discovering and development of budding talents-it is a promise kept to his younger self, a destiny fulfilled by becoming the very encouragement he once needed to find his way.

  • Spotlight on Fresh Talent: Night of 29th shines with gripping plot, stellar performances

    Spotlight on Fresh Talent: Night of 29th shines with gripping plot, stellar performances

    Abuja took center stage on December 14, 2024, as Silverbird Cinemas hosted the private screening of Night of 29th, a Nollywood film that defies conventions. Produced by MascotFilms, this cinematic gem breaks away from the reliance on star power, putting the spotlight on fresh talent and a powerful storyline.

    Directed by Rash and produced by Oluwaseunfunmi Mascot, Night of 29th dives deep into socio-cultural themes, bringing a fresh perspective to Nigerian cinema. The screening gathered an intimate audience of filmmakers, cinephiles, and industry leaders, including Dimbo Atiya, Bright Wonder, and Kassim Braimah.

    Unlike many Nollywood productions, this film relies on authentic, raw performances from relatively unknown actors Oluwaseunfunmi Mascot and Emmanuella Otsapa. Their delivery captivated the audience, proving that talent and a well-told story can outshine even the biggest celebrity names.

    During the event, Rash expressed his vision for the film and the industry’s future. “This is the kind of movie we need in the industry—stories that transcend the present, challenge norms, and spark meaningful conversations. Working with passionate, lesser-known talents allowed us to push boundaries and create something extraordinary.”

    The highlight of the evening was a Q&A session, where Rash shared his approach to filmmaking as an art form, emphasizing its potential to educate and inspire. Attendees were engaged, asking questions and providing insightful feedback, further cementing the film’s impact.

    The event also revealed exciting plans for the official premiere of Night of 29th in early 2025. MascotFilms has set its sights on redefining Nigerian cinema, focusing on storytelling that resonates across generations.

    With its bold narrative and refreshing approach to casting, Night of 29th promises to pave the way for a new era in Nollywood, inspiring young filmmakers to take risks and tell stories that matter.

    As the credits rolled, one thing was clear: Night of 29th isn’t just a movie—it’s a movement.

  • Global literary honour for Ibrahim Nureni 

    Global literary honour for Ibrahim Nureni 

    • By Olukorede Yishau 

    A distinguished Nigerian scholar, Ibrahim Nureni, has earned a spot in The Best Haiku Collection 4: International Anthology.

    The Best Haiku Collection, an initiative launched by HaikuCrush.com in 2021, is the result of a rigorous online search for the best haiku poetry from around the world. Spearheaded by the visionary Stephen FitzGerald, this annual search for the best invites poets from various backgrounds to submit their work. Out of hundreds of entrants, only 50 outstanding haiku are selected, showcasing the crème de la crème of poetic expression. In the 2024 edition, the judges @HaikuCrush announced on X.com on December 19, 2024, that Nureni’s work was among the best selected. Nureni stood out not only as the sole representative from Nigeria but also as one of only two African poets included in the collection. Other notable works by world-renowned poets considered among the best include: John Pappas, a celebrated international author from the United States; Rin Namakura, a distinguished writer from Japan; and Ellie Jones, an acclaimed poet from England. 

    This remarkable achievement highlights his profound talent and demonstrates his influence in the literary community. His work, which resonates deeply with both judges and readers, revolves around the theme of asylum. He explores how those seeking asylum carry the considerable burden of a heavy file, symbolic of the lives and challenges they left behind. The reasons for seeking asylum—whether due to environmental issues, medical needs, or social crises—are deliberately left open, inviting the reader to fill in the blanks. What stands out in this piece is the powerful use of “weight” to illustrate both the physical file and the world that the asylum seeker has departed from. This imagery is particularly compelling for those facing the asylum process, as it reflects their own experiences and struggles.

    Nureni’s dedication to his craft exemplifies the power of poetry to transcend borders and connect people through shared experiences. Through his haiku, he invites readers to explore the world from a fresh perspective, often weaving in themes of nature and humanity. His ability to encapsulate complex emotions and vivid imagery in just a few lines speaks volumes about his skill as a creative writer.

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    With this prestigious recognition, Nureni not only brings honor to himself but also serves as an inspiration for aspiring writers across Nigeria and Africa. As he wins accolades and garners attention on the global stage, he firmly establishes Nigeria’s literary scene as one rich in talent and creativity. 

    As we celebrate Ibrahim Nureni’s achievements, we look forward to his continued contributions to the world of haiku and literature in general, shining a light on the beauty, depth, and diversity of powerful storytelling.

  • Balewa golden voice goes on stage

    Balewa golden voice goes on stage

    Denja Abdullahi writes on a national stage play in which the life and times of late Prime Minister, Tafawa Balewa is celebrated. The is a whole embodiment of what Balewa stands for in the history of Nigeria and the role of nationalists and colonial masters. The play goes on stage with immediacy and the world will see and appreciate more a man who was so humble and fatherly.              

    The lure of epical biopic stage drama seems to have taken over the Nigerian theatre circuit in recent times. From Obasanjo to  Awolowo, to Fajuyi ,on to Ladi Kwali, Funmilayo Ransome-Kuti, Azikiwe, Sardauna and to Sanusi , notable playwrights , producers and directors seem to have caught the bug of narrating and packaging the stories of great men  and women of Nigeria for the stage and sometimes extending to the screen too. The overall idea is to animate and enliven the great deeds of this historical personages, who have played remarkable roles in the nation’s history, for the contemporary audience. Anyone with a knack for history can read historical texts or records to relive the lives of these characters again but what the theatre does to these narratives is to compact them and present each narrative from an angle that will best speak to the world of today. There are lessons to be learned from the lives of the great , what they did well or what they could have done better. This may be the allure of going back to unearth stories of men and women that may be already set in historical accounts or people’s memories and tell them again with a touch of freshness.

    When therefore , the playwright and producer, Ola Awakan , of Artswax Communications announced at a press conference held in Abuja on the 23nd November, 2024 that preparations were underway for the production of a stage play on the life and times of the first and only Prime Minister of Nigeria, Sir Abubakar Tafawa Balewa, it was clear that the nation is in for another recourse to the theatrical enactment of the life of another worthy historical figure – albeit one whose remarkable story may have been “undertold” before now. Even though, he occupies a unique place in Nigeria’s history as the first leader of the nation at independence; he was the leader of the nation at the golden age of the first republic before the bubble burst; he was one of the high profile victims of the military misadventure of 1966; he is fondly remembered as the “golden voice of Africa” ; he has an impressive biography of over 800 pages written on him by Trevor Clark entitled “ A Right Honourable Gentleman: The Life and Times of Alhaji Sir Abubakar Tafawa Balewa; and today nestling in Bauchi, he has his body interred in a most iconic architectural masterpiece mausoleum with an adjoining museum; the memory of Sir Abubakar Tafawa Balewa and what he stood for seem to be fading away from popular imagination. To retrieve the precious memories of Sir Abubakar Tafawa Balewa from history and project them through drama into the contemporary imagination made Ola Awakan to write the play ‘Tafawa Balewa: The Black Rock and the Golden Voice of Africa”. This is the second play in the “ Tales of Legends” series  of Artswax Communication; the first being  “Abibatu Mogaji”, performed earlier in the year to immortalize the legendary market women leader and mother of His Excellency, President Bola Ahmed Tinubu of Nigeria.

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    The Tafawa Balewa story is being packaged to be told on stage to preserve history of Nigerian heroes and to reawaken the elegant culture ,tradition and values embedded in the soil of Nigeria. Particularly, the production of the play scheduled to happen between the !5th – 26th  January, 2025 in  Bauchi, Abuja and Lagos is expected to bring back into the consciousness of Nigerians the legacies of integrity, sacrifice and patriotism personified in the life and times of Sir Abubakar Tafawa Balewa. Furthermore, according to the playwright, the play aims to celebrate Tafawa Balewa’s immense contributions to Nigeria’s political landscape, highlighting themes of patriotism, resilience and visionary leadership to inspire the audience with his commendable values. The playwright  also explained that the initiative is to equip the younger generations with facts and the nuances of the history of Nigeria and help them resonate better with their roots.

    To conceive a big theatre idea is one thing but to realise it on the practical stage lies the bulk of the task. For the forthcoming production of the play ‘Tafawa Balewa” a partnership of renowned national performing arts institution and theatre practitioners has been forged. The National Troupe of Nigeria, the nation’s foremost governmental theatre institution already steeped in such epical, land marking and nationalistic production is partnering with Artswax Communication for this production. For the creative delivery of the project on stage, Mallam Denja Abdullahi , former Director of Performing Arts with the National Council for Arts and Culture, foremost poet, award-winning playwright, theatre director, one-time Manager Operations, Abuja Carnival and former National President of the Association of Nigerian Authors(ANA) has been engaged as the play director. He would be leading a team of creative professional actors, choreographers, dancers, musicians, set designers, costumiers, makeup artistes and light and sound artistes to deliver befittingly spectacular productions in the three centres where the play would be staged. The choice of Denja Abdullahi as the director of the play is auspicious as he has spent close to a decade in the last ten years as a federal government culture administrator in Bauchi, the home state of Sir Abukar Tafawa Balewa. He has in a way been immersed well enough in the cultural and natal milieu that produced the historical figure and has in his pouch the right theatrical expertise to be able to lead a creative team to tell the story in a most appropriate way. Support for the production of the play is also coming from The Federal Ministry, of Arts, Culture, Tourism and the Creative Economy,  Jaiz Bank, The Bauchi State Government, The Lagos State Government and other critical stakeholders.

    Intense rehearsals towards the play has been on at the sprawling Uzzitz Centre for Arts and Culture, Abuja,for about a month now with the director leading the creative professionals under his watch to interpret the “ love letter” from Ola Awakan , the playwright, as contained in the script, through the stage to Nigerians that would watch the productions in the first month of the new year 2025. The management of Artswax Communication has also visited the “owners of the story” , the family and associates of the late Sir Abubakar Tafawa Balewa in Bauchi  and the Bauchi State government. They are all eager, looking forward to the dramatic re-enactments of the life and times of one of their greatest persons of national and international significance. The team was at the impressive mausoleum, well-kept museum and modest home of the late Prime Minister of Nigeria in Bauchi. That visit fuelled the passion to convey the virtues of the man’s life and times to all Nigerians  in a stage drama for recollection and reappraisal. Echoes of that visit to Bauchi reverberated to the creative team working on the framework of the play in Abuja, fortifying and inspiring them to do theatre justice to the story of Sir Abubakar Tafawa Balewa in a most spectacular way when it will be premiering.

            

  • We’re reinventing traditional dances – Musawa

    We’re reinventing traditional dances – Musawa

    Minister of Arts, Culture, Tourism and the Creative Economy, Hannatu Musa Musawa, has said that time has come when Nigerian cultural dances should be elevated to meet the trends in modern technology.

    She said this in Lagos yesterday during the launching of Reimagining the National Troupe of Nigeria through Innovation held at the National Theatre.

    The programme was in partnership with Open Innovation Access, a technology group that will handle the digitalisation of the national troupes, dances and dramas henceforth.

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    Musawa, who spoke through Mariam Ajaga, Special Adviser to the President on Culture in the office of the minister, explained that the programme would enable Nigerian youths, more so, the dance ambassadors of the country, to be in tune with their counterparts all over the world.

    She said: “This is an innovation to move dance to global audiences. It is also to preserve our cultural dances and dramas for the next generation. It is therefore time to make these go places, as this is a great innovation.”

  • These haloed demons, these sinful angels

    These haloed demons, these sinful angels

    By Sima Essien

    The past is a force like no other in this, Ever Obiʼs second novel. While Ever Obiʼs debut, ‘Men Don’t Die’, was a deeply mystical meditation on fate and the afterlife, ‘Some Angels Don’t See God’ has the author crafting a more grounded story, one that shocks and excites in its harrowing treatment of trauma and taboo, and in its overarching conflict, which is an unrelenting emphasis of the fact that the past is inescapable. 

    The non-linear structure of ‘Some Angels’, broken into two large parts, enables an unspooling of its story that places the past beside the present, almost blurring the lines between the two as it introduces the two main protagonists: Peter Idenala, the successful banking professional in a stale relationship, and Neta Okoye, a writer who finds unexpected success and critical acclaim for her debut novel, ‘The Angel You Know’. Once lovers who met as students in the university, the two reconnect years after their relationship was ended by a tragic and unfortunate event.

    Slowly, and over a steady revelatory pace, Obi brings the reader into an understanding of the main characters and their backstories. We are made to understand that as a child, Peter finds it hard to let go of the things he loves, so long as they still serve a purpose. As such, it is easier for us to rationalize Peterʼs cowardly sustenance of a romantic relationship with Winnie, a girlfriend his heart does not quite belong to, solely because she satisfies his sexual desires. In Netaʼs case, her willful acceptance of fate in certain unfortunate situations stems from years of guilt and regrets. For her, the fact that she could have prevented the sexual abuse and corruption that ruined her childhood and that of her twin brother, Jeta, but rather chose to indulge in it, would always persist as an indictment upon her very character, justifying the spate of misfortunes she perceives life sends her way as punishment.

    While it would appear that the greater tragedy of the story lies in the taboo of the incestuous relationship the twins share, even this can be traced to the sexual abuse of Jeta by their housemaid, Aunty Chidinma, and further back to the burning desires developed by the latter in the lingering aftermath of a brief affair with another househelp. And yet, the subject and the very idea of incest is so repulsive and abominable that when the twinsʼ mother, Edna, barges in on their illicit secret, the worst comes into consequential fruition. This disturbing discovery is a disruption that shatters the mirage of stability, and much like a boulder being dropped into a lake from several thousand feet high in the air, the resultant splash invites further catastrophe, creating effects that surge forward as tremulous ripples or crashing waves until the story concludes. And even then, total closure eludes all involved, including the spectating reader. 

    Apart from incest and sexual abuse, the novel perches on other themes such as the domesticated routines of housewives and their maids, the dynamics of middle-class families, religious hysteria, the uncertainty of life and loveʼs enduring complications. Mental health and its treatment is another thematic focus the novel develops. When writing her story as a fictional narrative fails to rescue her from the demons of her past and the depression she suffers as a consequence, Neta surrenders to the idea of seeking help in therapy sessions. These sessions, which she partakes in with the kind Dr. Debola, not only allows her to attempt, by way of confession, shedding the psychological baggage accrued over the years, but provides inroads for the audience to navigate the complex and endless terrain that is the mind and psyche of a tormented woman. 

    Beyond Obiʼs handling of these themes and his deft weaving of the storylineʼs multiple intertwining threads, there is much to be said about how the characters within Some Angels are sufficiently fleshed-out and fully-formed. Perhaps it is due to a shrewd understanding of the human condition and its complexities, or from careful observation, but Obi writes complexity and nuance into the makeup of his characters and their innate motivations, their deepest desires and thoughts. 

    From the humble housemaid to criminal vermin, middle-class wives and the ambitious professional, Obiʼs characters are solid people, infused with capabilities that flit between pure evil and the divine. At the centre of all this, the novelʼs title can be rephrased as a question: do some angels not deserve to see God? These haloed demons, these sinful angels, do they not deserve a bit of grace, a measure of relief? Have they not suffered enough? Abused, jailed, heartbroken, forgotten, neglected, shot at, “defeated and damaged”, burdened by guilt and pain and immeasurable trauma, do they not deserve peace from the past?

    Happiness never lasts long enough, it seems, before it is broken by yet another unfortunate incident to continue a cycle of misery. This might even be misjudged (by the inexperienced reader) to be nothing but an unyielding exercise in authorial sadism, rather than a representation of reality. At a point, Neta is forced to reflect on this: “She knew that the past, like a towering shadow, was so powerful and overreaching that it even moved years ahead and that the only thing certain about the future was that the past would be present in it.” (p. 188).

    For all the praise that ‘Some Angels’ rightly deserves, Obiʼs second novel is slightly undermined by the same shortcoming which bogged down his debut novel: an unnecessarily over-complicated plot. There is simply too much going on at times in the plot of his second novel that a decent measure of restraint would have bettered, and one hopes that Obi might favour a more minimalist method for storytelling in his next work. 

    In the end, even with its uncertain conclusion and tiny flaws, ‘Some Angels Don’t See God’ earns a resounding triumph for the sheer bravery of its exploration, and the delicately sensitive approach it employs to unfold the layers of a difficult saga. There is nothing sensationalist about this novel or how it touches upon the unusual topics within it. There is only creative art infused with a poignancy one can never forget easily, and proof that the best works of literature are those which can not only humanise the demonic, but, by being a mirror to our society, reveal the possibilities we possess as angels with darkness and light entwined in equal measure within us.

  • Excitement as Laju Iren premieres ‘Danfo and the Rose’

    Excitement as Laju Iren premieres ‘Danfo and the Rose’

    Filmmaker, Laju Iren premiered her highly anticipated movie Danfo and the Rose in grand style on Thursday, December 19, 2024, at Ebony Life Cinemas, Victoria Island, Lagos. The event attracted notable guests, including Ifeanyi Kalu, Emmanuel Iren, Lead Pastor of Celebration Church International comedian and actor, SLK; Sunshine Rosman, Michael Dappa, Olushola Okodugha, senior Pastor of The New and others.

    Directed by Akinkunle Michael Akinrogunde (AMA Psalmist), the film tells the story of a young lady determined to achieve her dreams despite the complexities of life in Lagos. Danfo and the Rose explores themes of finding love in unusual places, the relentless pursuit of one’s dreams against all odds, and the importance of showing love and care to others even while facing personal challenges.

    Featuring an impressive cast of Adunni Ade, Debo Adedayo (Mr. Macaroni), Sunshine Rosman, Michael Dapaah, and Sam Dede, the film has been praised for its heartfelt storytelling and thought-provoking narrative.

    Asked what inspired the story, Laju Iren said: “I try to tell stories about the things I believe are important. Family, learning to be inspired even when things are difficult, .I tell stories of hope and then stories that have a sense of wisdom in them. I just wanted people to see this from a different perspective. To see the wisdom in listening to the elderly while still pursuing one’s dreams and being able to communicate your dreams and not throw away what you do have. Because of what you are pursuing”

    On the impact she sees the movie making, Iren said: “I do hope that it at least gets this new generation to think a bit more critically even when pursuing their dreams. I do hope that it kind of brings both generations together..I do hope it inspires people to look beyond their background and really pursue their dreams wayf from that background. This movie is not as spiritual as some of my films, it has touches and glimpses of that and I wanted to find a way to bring in people who might not watch a truly spiritual film but one that has glimpse and pieces of faith in it while still talking about the issues that they do hold dear”.

  • Content creators are the voices of a generation,  says actor Check Edgar

    Content creators are the voices of a generation,  says actor Check Edgar

    The role of content creators has evolved beyond entertainment, transforming them into influential voices of a generation, says Edgar Eriakha, popularly known as Check Edgar. 

    The dynamic digital content creator, voiceover artist, writer, actor, comedian, and podcaster, Edgar highlights the growing importance of creators in shaping public discourse and driving societal change.

    “We are, in many ways, the voices of this generation,” Edgar stated. “From comedians to influencers, we hold the power to shape opinions, challenge societal norms, and ignite meaningful conversations. It’s a huge responsibility, and one I take very seriously.”

    Edgar’s words underscore the impact of content creators in today’s digital world, where platforms like Instagram, YouTube, and TikTok have become hubs for entertainment, education, and advocacy.

    For him, content creation is more than a craft—it’s a platform to influence, inspire, and provoke thought.

    Speaking at an event on the future of digital content, Edgar noted how Nigerian creators, especially comedians, have redefined the role of humour in pop culture.

     “Comedy has become a tool for social commentary,” he said. “It allows us to push boundaries, critique societal norms, and engage with topics like politics, social justice, and everyday struggles in a way that resonates deeply with audiences.”

    He believes comedians and creators have a unique ability to blend entertainment with education, bridging the gap between laughter and critical thought. By addressing serious issues with wit and satire, they not only entertain but also spark meaningful conversations that inspire action.

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    Edgar also emphasized the need for collaboration among content creators in Nigeria’s rapidly growing entertainment industry. “We are stronger when we support each other,” he explained. “Whether it’s through partnerships on projects or promoting each other’s work, collaboration amplifies our collective voice and impact.”

    As Nigerian pop culture continues to influence global trends, Edgar sees digital creators as ambassadors of the nation’s creativity and resilience. 

    He urged creators to take their responsibilities seriously, using their platforms to elevate conversations and inspire positive change.

    In a rapidly evolving digital age, Check Edgar stands as a testament to the power of content creators—not just as entertainers but as cultural catalysts shaping the narratives of a generation.

  • Seni Jawando’s artistry shines in Reflection IV

    Seni Jawando’s artistry shines in Reflection IV

    Renowned visual artist Olaseni Jawando (MFR), fondly called Seni Jawando, recently brought together friends, relatives, and old schoolmates at Eko Hotels, Lagos, for the unveiling of his captivating solo exhibition, Reflection 1V.

    Showcasing a remarkable 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.

    Speaking at the event, Jawando revealed the inspiration behind the Reflection series, now in its fourth iteration. “It reached a point where I decided to title all my exhibitions “Reflection,” he shared. “Each one tells a story—my story. Every artist has a narrative, and the most profound ones are those we know intimately.”

    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. Remarkably, 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.

    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 skilful fusion of his Lagos roots with the distinctive style of the famed Oshogbo School of Art.

    “The artworks beautifully capture his Lagos heritage while honouring the Oshogbo School through vibrant colours, 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.

  • Repositioning famous Benin art legacy

    Repositioning famous Benin art legacy

    The ancient city of Benin, the Edo State capital, witnessed an artistic rebirth when some legendary and emerging Nigerian visual artists converged on the red city for a 10-day Benin Art Fair.

    The inaugural edition of The Benin Art Fair, organised by Thought Pyramid Art Centre, headed by Chief Jeff Ajueshi, was a historic celebration of creativity, heritage and artistic genius. Venue was the Abstract Backyard, GRA, Benin City, between November 29 and December 8.  

    Interestingly, the venue of the fair complements the emerging Benin Cultural District that boasts of the Museum of West African Art (MOWAA) under construction on Ezoti Road and the Akenzua Cultural Centre on Airport Road.

    The outdoor and indoor pavilions of the facility created a conducive ambience for the appreciation of the different media, forms and sizes of artworks including priceless bronze artefacts.

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    Beyond honouring the extraordinary artistic legacy of the Edo people,  the fair also celebrated the indigenous masters who paved the way and the contemporary genius sustaining the path of excellence that the people of Edo represent.

    No fewer than 34 participants featured at the fair, which included legends such as master printmaker, painter and sculptor Prof. Bruce Onobrakpeya, Ben Osawe, Chief Jimoh Buraimoh, a world acclaimed and recognised bead painter from Osogbo, Tola Wewe, Enotie Ogbebor,

    Amsterdam-based Tyna Adebowale, Blessing Odigie, Usman Semiu-Alvin, Joval Oshone- Umoru, Amos Odion, Eguasa Omodamwen among others.

    The 10-day fair witnessed a magnificent convergence of some of Nigeria’s great artists from diverse backgrounds showcasing works that reflect the past, engage with the present, and inspire the future. From the mesmerising castings of ancient times to contemporary masterpieces that push boundaries, the fair serves to bridge the gap between tradition and innovation, paying homage to the creative influence that has defined Benin for generations.

    Significantly, the fair showcased the ‘dynamic blend, interactions, dialogue and cultural narratives between traditional, contemporary and modern that define the Edo State artscape. It also served as platform for projecting and promoting both local and international artists mostly of Edo origin, though spiced with other notable artists outside of the state.

    The fair is a confirmation that Benin is not just known for ancient and antique bronzes or relics, but also a vibrant centre for creativity of contemporary art and artists.

    One of the participants, Semiu-Alvin wowed the guests with his live drawing and painting sessions during the private viewing and opening ceremony of the fair. Also providing spices was a Benin-based Edo cultural troupe, which thrilled the guests to traditional Edo musical performances.

    According to Ajueshi, The Benin Art Fair’s vision is clear: to give the Benin people what is inherently theirs, to educate the new generation of Benin indigenes about their creative power, and to elevate the narrative surrounding this remarkable culture.

    He said through the fair, ‘we aim to reclaim Benin as the ultimate seat of artistic genius in Nigeria, and perhaps, all of Africa.’

    “For centuries, Benin has stood as a beacon of artistic pioneers, renowned for its profound influence on the global and traditional art world. This fair is a movement-a call to action to reclaim, celebrate, and showcase the rich artistic genius that resides in the very soul of the Benin people,” he added.

    He stressed that it is an ‘opportunity for us to remind the world and ourselves of the profound artistic legacy that flows through the veins of every Benin indigene. It is a space to inspire the younger generation to recognize their creative potential, to challenge outdated narratives, and to take pride in their cultural inheritance.’

    Impressed by the bold initiative, one of the leading Benin artists, Enotie Ogbebor described the fair as a fantastic outing for an inaugural fair of such size, magnitude and variety of artists showing in a city like Benin.

    He noted that the fair will create a platform for the promotion of art sales and production in Benin, a city noted for bronze casting, which were looted in 1897. Ogbebor highlighted the abundance of creative talents in Benin, adding that unknown to many, the modern Benin city artscape draws its creative energies from three major institutions training artists- University of Benin, Ambrose Alli University, Ekpoma and the Federal Polytechnic, Auchi.

    “And we should not expect that every artist must go to Lagos to be successful, or must go to Abuja, or abroad. Technology has made it possible now to produce artworks anywhere, and to market and showcase them from anywhere.

    For the packaging of the fair, he rated it as the best that has been held in Benin.

    “I believe that the new facility- Thought Pyramid Arts Centre – will continue to help to propagate art, and it can only get better,” he said.

    Though excited at the opening of the fair, one of the female artists who exhibited at the fair, Blessing Odigie, who is also a makeup artist, said Benin city is not in the league of Art Markets like Lagos or Abuja, as the ancient city is not there yet despite the thriving bronze casting business in Igun Street. She observed that bronze work seems to be the only work of art that makes meaning to the people in the city, adding that with increased awareness through events such as the Benin Art Fair, there is hope for a better and viable art market in Benin.

    “With art events such as this on a regular basis, there will be improved awareness about the value of art and consequently it’s patronage by the people. The Benin Art Fair has opened such window for others to contribute to the development and growth of the sector. Thought Pyramid Arts Centre has set the pace for others to buy in. But, presently, as for art market, Benin is not there yet, but we are getting there soon. So, the Benin Art Fair is like our own Art X in Benin,” she said.

    Another exhibitor Mrs Joval Oshone-Umoru commended the boldness of Chief Jeff Ajueshi who looked into the future of Edo State and decided to plant a gallery here in the first place.

    “Big thumbs up to him. And my expectation from this fair is that people may not flock in multitudes and thousands yet like we have in Lagos, but it’s a stepping stone. And my hope is that from this, people get to understand art the more,” she added.