The Nation Newspaper

Category: Midweek Magazine

  • LAWMA: Pushing for a cleaner Lagos

    LAWMA: Pushing for a cleaner Lagos

    Recently, Lagos State environment has been dotted with garbage heaps. This is contrary to the environmental policy of the state to achieve a beautiful or smart city in the near future. To help in achieving this environmental policy, the state had empowered private sector participation (PSP) operators with Compressed Natural Gas (CNG) compactors and licensed new ones across the state with smaller equipment to access inner streets. Against those who contravene this policy that aims at making Lagos clean, the government has declared war on offenders, reports OKWY IROEGBU-CHIKEZIE.

    The Lagos Waste Management Authority (LAWMA) has intensified its enforcement operations across the state, cracking down on indiscriminate dumping of garbage, black spots and persistent environmental violations that threaten public health and urban resilience. Speaking on the latest operation, Managing Director of LAWMA, Dr Muyiwa Gbadegesin, revealed that what is driving the recent pile-ups at specific corridors such as nuisance spots along Apapa–Mile 2–Oshodi, Ikotun–Ejigbo–Egbeda, Iyana Ipaja, LASU–Iyana Iba and around large markets reflect localised pressure points, not a system-wide failure.

    He refuted some unfounded rumours peddled by uninformed critics who may not have the details of what the agency is currently doing to minimise indiscriminate refuse dumping on our streets.

    He noted that three major factors dominate the seeming neglect of the metropolis.

    In an interview with The Nation, the LAWMA boss stated that night-time illegal dumping on medians and setbacks is carried out by residents or unlicensed collectors trying to avoid PSP service fees.  However, he said that the Lagos State Government has increased penalties that defaulters would pay toN250,000 or three months’ imprisonment for illegal dumping and littering, even as he said enforcement is active and ongoing.

    He also said that market-area surge waste as a result of high, continuous inflows from traders and non-traders who bring street waste to market frontages, overwhelming day-time loading windows amid heavy traffic.

    According to him, LAWMA has repeatedly cautioned against using medians as collection points and backs up PSPs with targeted “intervention” clearances. He also lamented the return of banned, illegal collectors and cart pushers in some districts, who typically dump at night into canals and road medians, creating the very eyesores residents decry.

    Gbadegesin stressed that LAWMA and partner agencies have undertaken arrests and prosecutions for these offences with over 700 people through day and night surveillance with Lagos State Environmental Sanitation Corps (LAGESC).

    On what  LAWMA is doing to create sanity, he stated that they are undertaking hotspot clearance and night operations, intensified “intervention” sweeps on the named corridors, including Apapa–Mile 2–Oshodi; Ikotun–Jakande Gate; LASU–Iyana Iba, with night evacuations to prevent daytime re-accumulation, paired with targeted enforcement.

    Others are PSP performance management, including ongoing route reviews, backup services where private capacity is thin, and directory transparency so residents can reach assigned PSP operators.

    He said: ‘Beyond day-to-day clearance, Lagos is executing structural reforms to remove the root causes of highway pile-ups and improve long-term service quality, decommissioning legacy landfills and building modern infrastructure.

    “Lagos is transitioning Olusosun (Ojota) and Solous III (Igando) away from open dumping towards a network built around Transfer Loading Stations (TLS) and Material Recovery Facilities (MRFs)—with timelines publicly stated and preparatory works ongoing. This shift shortens haulage; speeds turn-around for PSP trucks and keeps markets and highways clear.”

    “As part of the end-state system, the state has outlined waste-to-energy capacity (for instance, Epe) to handle residuals after recycling/composting, reducing landfill reliance and methane emissions.”

    READ ALSO: US: How not to engage a changing continent

    To stop medians from becoming de facto dumps, he said that LAWMA has advanced plans to introduce compact/mobile TLS that will relocate loading off the roadway and into controlled nodes—especially around large markets and dense corridors.

    He further disclosed that 90 per cent of the waste disposed of in the state is worth about $2.5 billion. He also reaffirmed his agency’s commitment to maintaining a cleaner environment. He urged residents to desist from dumping refuse on the roads and in canals, warning that anyone caught in the act of dumping refuse in unauthorised places will face the full wrath of the law. He advised all residents to embrace waste separation, adding that we must all stop throwing everything away and start sorting as it is done in advanced countries.

    “Ninety per cent of what you throw away has value to the tune of $2.5 billion. We must start sorting that waste, collecting it and giving it to those who are in need of it. Waste to wealth is the key to the survival of Lagos. When you go to Olusosun and Solous 3, you will see it,” he stated.

    He said:  “In Lagos State, we must move to a point where we ban landfill sites, and that is what we are moving towards as a state government. We have commenced the process of decommissioning Olusosun and Soluos 3 within the next 18 months. We have already gone two months out of those 18 months. Just give us an allowance for plus or minus. We are committed to decommissioning them.”

    Gbadegesin reaffirmed his agency’s commitment to maintaining a cleaner environment, urging residents to stop dumping refuse on the roads and in canals, warning that anyone caught disposing of refuse in drainage channels and unauthorised places will contend with the provisions of the state sanitation laws.

    He advised all residents to embrace waste separation, adding that “we must all stop throwing everything away and start sorting things as is done in advanced countries.

    He disclosed plans to recruit 377 environmental health officers, aka wole-wole, as part of the new drive of the government to tame the waste challenge in the state.

    He said they will be empowered by law to arrest and prosecute offenders.

    He said recruitment will begin from January 2026, and the officers will be deployed to each ward in the state.

    “Mr Governor granted us approval to engage 377 environmental health officers.

     “That means we are going to have one in each ward. And if you are familiar with the environmental law, the environmental health officers, alias wole-wole of the olden days, have a lot of powers. They can take you to court; they can prosecute and put you in jail if you violate any of the environmental laws.

    “By the time we have one in each ward, we now empower them so that we go back to those old systems. That’s the kind of enforcement system I think you are asking for,” he said.

    The LAWMA Chief said the state requires at least 2,000 tricycle compactors to tackle the waste challenge, especially in the hard-to-reach areas of the state.

    According to him, the state generates between 13,000 and 15,000 tons of waste daily, out of which 4,000 to 5,000 tons are collected by 450 Private Sector Partnership (PSP) operators.

     “The balance is going into the drains, canals, lagoons and wetlands, among others.

     “We have about 12 per cent of wetlands in Lagos, and people have been dumping waste on the wetlands,” Gbadegesin said.

    Gbadegesin stated that about 22 PSP operators had been fired for inefficiency in the collection of waste.

    The LAWMA boss described infrastructure as the biggest challenge in the state’s waste management system.

     “The biggest issue right now in waste management is the infrastructure.

     “When I talk of infrastructure, I am talking about the equipment and facilities that we will use to collect, transport, treat and dispose of the 13,000 tons of waste generated daily in the state.

    “The infrastructure includes the whole logistics chain from the bins. Risk management begins from the containerisation, the households, the business and the industry.

     “We don’t have enough bins. Right now, we have 80,000 smart bins that we are rolling out, and we need a lot more,” he said.

    Gbadegesin added that the agency has been working closely with the council chairmen across the state to take charge of waste management and street trading in their areas.

    He said at least 25 councils have already created waste management task forces as part of the synergy with LAWMA.

    He pledged that LAWMA would continue to work with relevant stakeholders to ensure a cleaner Lagos.

    He also stated that as part of measures to ensure a cleaner city, the Lagos State Government is committed to a 10-year development plan under which 100 new CNG compactor trucks would be procured for use next year.

    According to him, to keep Lagos clean, we still need compactor trucks. Altogether, we need about 2,000 trucks; 1,000 for the day-to-day fleet and 1,000 for backup.

    “This is a long-term investment package that would be supported by a statewide billing system. We will undertake an enumeration of every household and billing by the state government. Through automation, you will now get a bill from the state government. When you pay, we confirm that the PSP operator has done the job. We pay them.”

    Gbadegesin reiterated that what LAWMA is working towards is to have transparency and accountability in the system.

    “We believe that Lagos residents are ready to pay for waste collection if they get good service, and that is what we will ensure going forward.

    “LAWMA is in advanced stages of procurement of additional compactor trucks for PSP waste collectors. This will improve service delivery and reliability statewide when coupled with the introduction of the new Transfer Loading Stations (TLS) that will reduce turnaround time, enabling the PSP operators to evacuate waste more rapidly from the doorsteps of Lagos residents,” he said.

    Setting the record straight, he said that Lagos’ scale is unique in managing 13,000 tons per day in a megacity of over 20 million people, which requires continuous upgrading of assets and rules and not a one-time fix. That upgrade is underway and publicly documented.

    “Eyesores are preventable; where residents bag waste, keep bins, pay their assigned PSPs and avoid illegal collectors, medians do not become loading points—and enforcement will continue against violators under the updated penalty regime.

    “Enforcement is real, arrests and prosecutions have increased; penalties are stiffer; surveillance now targets night-time dumping, when most infractions occur,” he added.

    The bottom line is that Lagos is not returning to “the bad old days.” The city is tightening enforcement against illegal dumping, clearing hotspots, and most importantly, building the next-generation system.

    In the latest operation, Gbadegesin acknowledged the waste management challenges experienced in key areas in the state, reiterating the authority’s firm commitment to ending all forms of reckless disposal habits.

    He said: “The state’s coastal geography made enforcement very important to prevent environmental hazards. A bag of refuse tossed into a drain anywhere in the metropolis does not disappear. It blocks culverts, worsens flooding, exposes households to contaminated water and sends plastics and debris into our canals and lagoon systems. Illegal dumping has consequences far beyond the act itself.”

    He revealed that LAWMA has moved from episodic crackdowns to a steady, intelligence-driven enforcement model that links surveillance, community reporting and swift prosecution.

    The LAWMA boss said the state is considering reintroducing the monthly sanitation exercise.

    He added that the state government would soon roll out smart bins with notifications for all houses, stressing that the chips attached to the bins would notify LAWMA when the PSP Operators fail to pick up wastes at the appropriate time.

  • Renewing hope in Nasarawa

    Renewing hope in Nasarawa

    Across Nasarawa State, transformative empowerment initiatives are quietly reshaping lives. From vocational training and start-up support for youth to healthcare outreach for vulnerable communities, these programmes provide practical skills, critical resources, and mentorship—restoring agency, improving livelihoods, and ensuring that hope and opportunity reach those who need them most, reports LINUS OOTA

    Nasarawa State, the clearest evidence of leadership in recent months has not been found in campaign slogans or grandstanding declarations, but in quieter, more intimate moments: a woman regaining her sight after years of blurred vision; a young man completing vocational training with tools he can finally call his own; a pregnant mother returning home from a clinic reassured rather than fearful. In these spaces—often overlooked in policy debates—empowerment has acquired a human face.

    For Abubakar Muhammed Adamu, former Inspector General of Police, and his wife, Hajiya Rukaiya Adamu, empowerment has been approached not as benevolence, but as responsibility. Their interventions across the state have focused on restoring capacity—health, skills, and economic agency—rather than dispensing fleeting relief. The underlying philosophy is straightforward: people thrive when barriers are removed, not when dignity is replaced with dependency.

    The interventions unfolding across the state do not announce themselves as grand solutions. They are, instead, deliberately practical—anchored in health, education, skills, and small but catalytic economic support. Their logic is simple: empowerment must meet people where they are, address immediate constraints, and leave behind something durable. In Nasarawa’s towns and interior settlements, this approach has translated into programmes that restore sight, stabilise chronic illnesses, equip young people with employable skills, and provide women with modest capital that unlocks enterprise.

    Healthcare has been the most visible entry point. The M.A. Adamu MediCare for Renewed Hope initiative has moved through all thirteen local government areas, not as a ceremonial outreach but as a functional medical intervention. Speaking during one of the outreach programmes, Adamu framed the intervention plainly. “This is about ensuring that no one is left behind simply because they live far from a hospital or cannot afford basic treatment,” he said. “A healthy population is the foundation of productivity, unity, and development.”

    For many beneficiaries, it has been the first sustained encounter with structured healthcare in years. Consultations, diagnostic screenings, essential drugs, minor surgeries, maternal support, and health education have been provided at no cost. The emphasis has not been on numbers for their own sake, but on conditions that quietly erode productivity and quality of life—eye ailments, diabetes, hepatitis, pregnancy-related complications. For many, the procedure marked the first time in years they could see clearly without pain or fear. “I had resigned myself to darkness,” said a beneficiary in Akwanga who underwent cataract surgery. “Today, I can see my grandchildren again. I can work again. That is not a small thing.”

    In the remote corners of Nasarawa State, where access to healthcare had long been a distant hope, transformative interventions began to change lives. For elderly residents whose cataracts had gradually narrowed the world to shadows, skilled surgeries restored not only sight but independence, enabling them to move freely, care for themselves, and re-engage with their families. Traders and artisans grappling with diabetes—once forced to manage their condition with irregular medication or none at all—found renewed stability through screenings, consistent drug provision, and health education. Pregnant women, often navigating childbirth with minimal support, were provided delivery kits and antenatal care, reducing the risks associated with pregnancy and giving families the reassurance of safer births. These were not symbolic gestures; they were deliberate, life-altering interventions that returned people to their routines, their farms, their shops, and their communities with restored dignity and capacity.

    Chronic illnesses such as hepatitis and diabetes, which previously went unmanaged due to prohibitive costs or long distances to clinics, were met with structured screening and ongoing medication support. Health education sessions reinforced prevention strategies, ensuring that care extended beyond the visit of the medical team. “This wasn’t rushed or cosmetic,” noted a clinician in Lafia. “There was structure, follow-up, and coordination with local leaders. That is why it worked.”

    What set this outreach apart was not just its scale but its meticulous organisation. Mobile clinics reached communities isolated by poor roads or challenging terrain, while health professionals collaborated with local leaders to identify the most vulnerable. Every intervention was accompanied by follow-up guidance and practical health education, reinforcing prevention alongside treatment. Community leaders and frontline workers repeatedly emphasised that this approach reduced duplication, maximised resources, and ensured that support reached households typically overlooked by formal healthcare planning. In every village and ward touched, the programme restored more than health—it restored hope.

    Beyond healthcare, youth empowerment has become a central pillar of the interventions across Nasarawa State. With a significant proportion of the population youthful, energetic, yet often underemployed, programmes targeting this demographic have sought to transform potential into tangible livelihoods. Rather than offering abstract motivation, the initiatives have focused on practical vocational training, start-up support, and mentorship tailored to local economies, ensuring that skills gained translate into real income-generating opportunities.

    Read Also: Tunji-Ojo: Nigeria’s future depends on unity, national renewal

    Beneficiaries have learned trades and services aligned with local demand, from tailoring and carpentry to ICT and agribusiness. Accompanying these skills are modest grants, essential tools, and mentorship—resources designed not to impress, but to enable sustainable action. “One training changed how I see myself,” said a young beneficiary in Keffi. “I’m no longer waiting for help. I’m working, earning, and planning for my future.”

    The interventions have also fostered psychological transformation. By combining skills acquisition with immediate, practical application, young people move from uncertainty and dependency to confidence and agency. Mentors guide them through the realities of informal economies, helping them navigate challenges and build resilience. The strategy reflects a commitment to long-term impact rather than short-lived spectacle. Small, well-calibrated grants and practical tools create pathways for self-reliance, while consistent mentorship strengthens both skill and confidence. Across Nasarawa, this approach is quietly reshaping lives: young people are now able to envision futures in which effort, talent, and initiative can translate directly into meaningful livelihoods and active participation in community development.

    Women’s empowerment has followed a similarly grounded logic. In Nasarawa, as in much of Nigeria, women often shoulder economic responsibility while facing systemic barriers to credit, healthcare and political voice. The initiatives associated with Hajiya Rukaiya Adamu have deliberately intersected these pressures. Food and cash support have been provided not as isolated relief, but as stabilising interventions that allow households to breathe and plan. “Our mission is holistic,” she explained during an outreach in Toto. “Good health, education, and economic empowerment go together. When women are supported, entire households become stronger.”

    In Toto Local Government Area, for instance, over a thousand vulnerable women across all electoral wards received direct support through a distribution process designed to reach even remote settlements. The approach was deliberately decentralised, moving from house to house to avoid the common pitfalls of crowd-based distributions that exclude the most isolated. For many recipients, the assistance bridged immediate gaps—food security, school needs, medical bills—while preserving dignity by avoiding public spectacle.

    Beyond material support, there has been a consistent emphasis on inclusion and consultation. Hajiya Rukaiya Adamu’s engagements across the state have focused on listening rather than mobilising, creating spaces where women articulate priorities around health, livelihoods, and participation. In a context where women’s political engagement is often reduced to mobilisation roles, this consultative posture has been widely noted as a departure. It reframes empowerment not as benevolence, but as partnership.

    Education, too, has featured quietly but persistently. Scholarships supporting young people across different parts of the state have enabled continuity for students who might otherwise have dropped out due to financial pressure. The beneficiaries are not presented as symbols, but as individuals navigating real constraints—transport costs, tuition gaps, and family obligations. By sustaining educational trajectories, the intervention addresses a long-term driver of vulnerability rather than its symptoms.

    What unites these varied initiatives is a consistent avoidance of patronage language. Beneficiaries are not framed as passive recipients of kindness, but as citizens whose productivity and wellbeing matter. The programmes do not ask for allegiance; they focus on outcomes. Health is restored so people can work. Skills are provided so livelihoods can grow.

    Small capital is injected so businesses can stabilise. In each case, the measure of success is what continues after the intervention moves on.

    The geographic spread of these programmes has also mattered. From Karu to Keffi, Lafia to Akwanga, Nasarawa Eggon to Wamba, the interventions have reached communities with distinct economic profiles. Urban traders, rural farmers, artisans, and informal workers have encountered programmes adapted to their contexts rather than imposed uniformly. This sensitivity has reinforced local ownership and reduced the perception of external imposition.

    Community responses reflect this nuance. Traditional rulers and local leaders have consistently emphasised the timing and relevance of the interventions. Health workers have pointed to reduced pressure on overstretched facilities during outreach periods. Beneficiaries speak less about gratitude and more about relief—the relief of seeing clearly again, of managing an illness without fear, of restarting a stalled business. These are the quiet indicators of empowerment that statistics alone cannot capture. Importantly, the initiatives have unfolded without displacing the role of government. They are framed as complementary, not substitutive. By filling gaps and demonstrating workable models, they point toward what effective service delivery can look like when resources, organisation, and intent align. This posture has reduced friction and encouraged collaboration with local structures rather than competition.

    Ultimately, empowerment is measured by what people can do after assistance is given. In Nasarawa, thousands can now see, work, trade, learn, and plan with greater assurance than before. That outcome, modest in its presentation but profound in its effect, is what gives these initiatives their credibility. They suggest that when empowerment is approached with respect, precision, and empathy, it ceases to be patronising and becomes transformative.

  • How Lagos–Ibadan rail is redefining commerce in Southwest

    How Lagos–Ibadan rail is redefining commerce in Southwest

    Once dismissed as another white-elephant project, the Lagos–Ibadan railway is fast proving to be a lifeline of efficiency. In just the first eight months of 2025, it carried nearly 700,000 passengers and hauled 380,000 tons of cargo—saving millions of travel hours and slashing haulage costs in a country long hobbled by gridlocked roads and high logistics expenses. Beyond speed, the corridor is driving productivity, preserving harvests and sparking new economic clusters, report ADEYINKA ADERIBIGBE, YINKA ADENIRAN and NTAKOBONG OTONGARAN

    On a humid morning in Ibadan, the Oyo State capital, the Lagos–Ibadan train glides into its terminal with clockwork precision. From its doors pour a cross-section of Nigeria—civil servants gripping files, traders balancing bags of goods, students with backpacks slung over shoulders. Only hours earlier, they had departed Lagos, Africa’s largest city, where clogged roads once stretched the 120-kilometre trip into a punishing half-day ordeal. Today, the same journey takes just a little over two hours.

    Completed in 2021, the Lagos–Ibadan rail line was initially celebrated as another milestone in infrastructure delivery. But fresh data suggests it is quietly maturing into something more transformative: a driver of economic efficiency. Between January and August 2025, the train carried 690,169 passengers. Monthly ridership climbed from 79,672 in January to 109,413 in August—a 37 per cent increase in just eight months. Behind those numbers lies a human story: workers reaching offices earlier, traders opening shop on time, students saving on bus fares and stress.

    One civil servant captured the sentiment on X (formerly Twitter): “I left Lagos at 6:00 a.m. and was in a 9:00 a.m. meeting in Ibadan. By road, that was impossible.” Economists say such time savings translate directly into productivity and disposable income. The World Bank notes that in economies burdened by high logistics costs, each minute shaved off travel yields measurable economic output. By saving passengers an estimated two hours each trip, the Lagos–Ibadan line restored nearly 1.4 million productive hours to Nigeria’s economy in just eight months—the equivalent of 160 years of labour time regained.

    Freight revolution: The steel backbone of trade

    If passenger trains showcase the rail’s social value, freight is the steel backbone that powers economies. Between January and August 2025, the Lagos–Ibadan line hauled 382,340 tons of cargo—cement, steel coils, gypsum, soda ash, and containerised goods, the very lifeblood of Nigeria’s industries. In April alone, over 73,000 tons moved on the line. That is freight that might otherwise have clogged highways, driven up haulage costs, or perished before reaching destination. By contrast, road transporters contend with soaring fuel bills, congestion delays, and accident risks.

    For traders, the difference is tangible. A tomato merchant told Channels TV: “By road, half of our goods rot before reaching Ibadan. By train, more arrive fresh and we make more money.” This is logistics efficiency at work. In Nigeria, transport typically consumes 30–40 per cent of business expenses—compared to under 10 per cent in developed economies. Every ton shifted from truck to train reduces costs, raises margins, and improves competitiveness.

    Economic multipliers

    Economists classify railways as general-purpose infrastructure—assets that lower transaction costs, stimulate trade, and integrate markets. Studies by the World Bank and African Development Bank (AfDB) suggest every dollar invested in rail can yield $1.50–$2.20 in wider economic output once spillovers into agriculture, manufacturing, and services are included. On the Lagos–Ibadan corridor, passenger fares and freight receipts totalled about ₦12 billion (roughly $8 million) in the first eight months of 2025. Using AfDB’s multiplier, this translates into an additional $13–$19 million in economic value in less than a year.

    The impact extends well beyond revenues. Towns along the line—Papalanto, Abeokuta, Moniya—are stirring back to life as stations double as logistics hubs. Land values around Ibadan station are rising, while shops, eateries, and small service firms sprout around the steady stream of commuters and traders. More broadly, the line is altering Nigeria’s inflation and growth dynamics. By shifting passengers and freight from the chronically congested Lagos–Ibadan expressway to rail, it chips away at one of the country’s deepest structural problems: high logistics costs.

    For farmers and food traders, the change is striking. Perishable produce that once spoiled after a day in traffic now reaches markets intact, reducing waste and stabilising supply. Consumers, in turn, feel the benefit in more moderate food prices—vital in a country where food carries the heaviest weight in the inflation basket. The Lagos–Ibadan rail line is thus more than a transport project. It is a quiet lever of productivity, competitiveness, and price stability.

    The headline inflation rate, which eased to about 20.1 per cent in August 2025 after months of food-driven surges, reflects a mix of influences. But improved efficiency along critical supply corridors such as Lagos–Ibadan stands out as one of the quiet structural supports cushioning upward pressure. The growth story becomes even clearer when viewed through output. Every commuter who reaches Ibadan in two hours instead of five embodies regained productivity: fewer wasted hours in gridlock, more time contributing to the economy. Every ton of cement, steel, or grain that moves inland by train rather than truck lowers factory input costs and distributor expenses, freeing up margins for reinvestment and expansion.

    This productivity dividend loops back into the inflation story. Lower transport costs help cool food prices, and with food carrying the heaviest weight in Nigeria’s inflation basket, this feeds directly into headline inflation. The Lagos–Ibadan line is thus more than a commuter service. It is the flagship of a broader rail reform agenda under the Renewed Hope government. Central to this is the Track Access Programme, which opens Nigerian Railway Corporation (NRC) lines to licensed operators. Lagos State is already linking its Red Line commuter rail into the corridor, while Chinese partners are piloting freight runs. By attracting private capital and easing the government’s fiscal burden, the programme is breaking open a sector long closed to outside players.

    The reform also doubles as industrial policy. At the Abuja International Railway Conference in September, the NRC signed a five-year agreement with Ajaokuta Steel Company to produce rolling stock components locally—especially steel wheels. The Lagos–Ibadan line will be among the first to benefit, reducing import dependence while channelling demand into Nigeria’s long-struggling steel sector.

    Energy transition is another pillar. In partnership with the Presidential Initiative on Compressed Natural Gas (Pi-CNG), the NRC plans to convert diesel locomotives into hybrids using liquefied natural gas, while replacing diesel generators with gas-fired alternatives. For the corridor, that means lower operating costs, reduced emissions, and new demand for Nigeria’s gas reserves. Complementing this are shuttle vehicles linking stations to nearby towns, tightening intermodal connections and feeding local economies.

    Equally critical is human capital. Through agreements with universities and technical institutes, the NRC is training a new cadre of engineers and technicians in modern rail operations. The Lagos–Ibadan corridor doubles as both showcase and classroom—embedding skills alongside steel, and building the human foundation for Nigeria’s rail future.

    Read Also: NSIB report reveals cause of Kaduna-bound train derailment

    At Obafemi Awolowo Station in Moniya, Ibadan, the promise of rail-driven growth is visible — but uneven. Business activity peaks only when the trains arrive, then quickly fades into silence until the next service. Taxi operators, tricycles, and motorcycle riders spring to life as passengers with luggage disembark, haggling over fares in scenes that reflect both the vibrancy and fragility of the station’s economy. Operators told The Nation that while their incomes have improved compared to before the station opened, the pace of growth remains far below expectations. Comrade Abraham Temitope, a cab driver who has worked at the station for three years, put it bluntly: “Except for trains coming down, there’s nothing here again. Immediately the train leaves, nothing else happens until the evening. The government needs to work on more trips and create facilities around the station to attract people.”

    He and others argued that hotels, malls, and family-friendly spaces could help keep visitors longer and stimulate commerce. They also lamented the abandoned road linking Moniya to the Oyo–Iseyin axis, warning that the unfinished stretch damages vehicles and discourages patronage. “The road has been left unfixed for almost three years. It is to our detriment every day,” Temitope added.

    The General Secretary of the Micra Cab Operators, Mr. Adebayo Abiodun, echoed these concerns. He noted that only two daily trips — three on weekends — limit the economic spin-offs. “By now, the train should be running at least three trips every day. More trips mean more passengers, and more passengers mean more business for us all,” he said.

    Awareness is another hurdle. Abiodun observed that many residents in Ibadan and even Lagos remain unaware the service is operational. “Many people I carry still tell me they didn’t know the train station was working. Publicity will help bring passengers, and when they come, our businesses will grow,” he added. Around the station, petty traders such as food vendors and snack sellers depend largely on staff and transport operators for patronage, with only occasional sales to passengers. Property values, which had spiked after the terminal opened, have since plateaued as development momentum slowed.

    Challenges of maintenance and sustainability

    Even as the Lagos–Ibadan line demonstrates promise, sustainability looms large. Earlier this year, a derailment on the Abuja–Kaduna line reignited fears about safety and maintenance. Although the NRC restored service far more swiftly than in the past — a sign of greater responsiveness — questions linger: can Nigeria sustain adequate maintenance funding, resist political interference, and guarantee governance discipline over the long term? “Infrastructure is not only about building. It is about maintaining and managing,” noted Prof. Sam Amadi, former regulator and energy policy scholar. “Rail can catalyse growth, but without governance, it can also collapse.”

    The Lagos–Ibadan line also forms the southern stretch of the Lagos–Kano–Maradi corridor, envisioned as a continental trade spine under the African Continental Free Trade Area (AfCFTA). Properly linked to ports and extended inland, it could anchor Nigeria’s ambition to serve as West Africa’s logistics hub. Vice-President Kashim Shettima underscored this at the Abuja railway summit: “Railways connect raw materials to factories, workers to opportunities, and farmers to markets. They shape economies and societies. Every poor-looking country from China to Vietnam has used rail as a driver of development. Nigeria cannot afford to lag.”

    Back at Ibadan station, as the last commuters head home and freight wagons roll north, the Lagos–Ibadan line feels like more than just steel and concrete. Each passenger carried and every ton of freight hauled chips away at Nigeria’s old reputation for inefficiency. Sustained momentum could turn this corridor into more than a transport link — into a lever for growth, integration, and renewal in a country searching for prosperity beyond oil.

  • Excitement in Benin Kingdom over mass return of looted artefacts

    Excitement in Benin Kingdom over mass return of looted artefacts

    History came full circle in a powerful display of culture and justice as 119 looted Benin artefacts were returned by the Netherlands to the palace of Oba Ewuare II. The repatriation—the largest ever by any European country—sparked jubilation across Benin Kingdom, with high-ranking chiefs dancing to ancestral drumbeats and the Oba himself joining in the celebration. The artefacts, looted during the 1897 British invasion, are more than artistic relics; they embody the spiritual and historical soul of the Benin people. Their return marks a monumental step in restoring stolen heritage and rekindling the identity and pride of an ancient African civilisation, reports OSAGIE OTABOR

    It was a moment of jubilation at the palace of the Benin monarch, Oba Ewuare II, as the government of the Netherlands returned 119 artefacts looted during the 1897 British invasion of Benin Kingdom. High-ranking chiefs danced gracefully to ancient drumbeats, and in a rare public gesture, the Oba himself rose to dance in celebration. This return marks the largest single repatriation of Benin artefacts by any European country. The treasured artefacts—bronzes, wood carvings, ivory, and brass works—hold deep cultural, historical, and religious significance. Each piece was originally commissioned by reigning Obas and crafted by specialised guilds: bronze and brass casters from Igun Street (Igun n’Eromwon) and wood carvers from Igbesamwan, all custodians of ancestral artistry passed down through generations.

    In a spiritual gesture, Oba Ewuare II invoked the spirits of the returned artefacts using his official sceptre, commanding them to summon the return of their scattered counterparts from around the world. He vowed never to allow the artefacts to be relooted while he sits on the ancestral throne. The return is not merely the repatriation of cultural property; it is a spiritual homecoming. As Theophilus Umogbai, Director and Curator of the Benin City National Museum, noted, the artefacts’ return is akin to the return of ancestors. “Everybody is waiting and hoping to behold these objects,” he said, capturing the profound emotional and cultural resonance of the moment.

    “People have been talking about these objects since 1897 and yet we are unable to access these objects to behold them, to view them. Each of the objects taken away represented an ancestor in captivity, not just an artwork but an ancestor in captivity. That will tell you how important the objects are. So, they are part of our history and when they were taken away it was our civil library was raided and vandalised, their return now will help to fill in those gaps.”

    Before the return of 119 artefacts by the Netherlands, several museums and private individuals across the world had already responded to growing global pressure to return looted Benin artefacts. In 2014, under the reign of Oba Erediauwa, Dr. Adrian Walker—great-grandson of Captain Hubert Sutherland Walker, a British spy involved in the 1897 invasion—returned two bronze pieces. He described his action as a moral responsibility, stating it was unethical to keep what was never legally his.

    In a related development, the Museum of Fine Arts, Boston (MFA), at the weekend returned two works of art from the Benin Kingdom to His Royal Majesty, Omo N’Oba Ewuare II, Oba of Benin, in a ceremony at the Nigeria House in New York City, which houses both the permanent mission of Nigeria to the United Nations and Consulate General of Nigeria. The works were presented to His Royal Highness Prince Aghatise Erediauwa and  Ambassador Samson Itegboje of the Embassy of Nigeria, a statement from the organisation stated.

    The National Commission for Museums and Monuments, working with the Embassy of Nigeria in Washington, D.C., the statement said, will take possession of these two works and coordinate their handling, care, transit to Nigeria, and delivery to the Oba of Benin. The transfer was coordinated and facilitated by Dr. Arese Carrington, a member of the MFA’s Board of Advisors, the statement added. In addition to Aghatise Erediauwa, Itegboje and Carrington, the ceremony was attended by Ambassador Abubakar Jidda, Consul General of Nigeria, New York; Matthew Teitelbaum, the MFA’s Ann and Graham Gund Director.

    “I am pleased to deliver these two works of art to Prince Aghatise Erediuwa on behalf of HM Oba Ewuare II,” said Matthew Teitelbaum, Ann and Graham Gund Director of the MFA. As custodians of these exceptional objects for the past 12 years, it is deeply gratifying to see them returned to their rightful owner. I want to thank Dr. Arese Carrington, Ambassador Itegboje and Consul General Jidda for their partnership in this truly meaningful event,” the MFA officials added.

    Read Also: Obaseki withholds palace’s fund for seven months, says Oba of Benin

    In 2021, Jesus College, Cambridge, returned the Okukor, a bronze cockerel sculpture. The same year, Germany’s then Foreign Minister, Annalena Baerbock, repatriated 22 artefacts, acknowledging Germany’s “dark colonial history” and expressing a resolve to correct historical injustices. The Stanley Museum of Art at the University of Iowa, USA, followed suit in July 2023, returning a wooden carved mother hen and a brass plaque to Oba Ewuare II. In 2022, the German government returned two historically significant royal stools used in the coronation of Oba Eresoyen and Oba Esigie, dating back to the 15th and 17th centuries.

    Sweden has also pledged to return 39 Benin artefacts in its museum collection to the Benin royal court. Commenting on the Netherlands’ recent restitution, General Director of Wereldmuseum, Marieke Van Bommel, called on other European nations to act. “The artefacts were looted, and we have a policy in the Netherlands to bring them back. We are returning 119. These are all we have. There are more in Europe, but that is not up to us,” she said.

    Several organisations have pledged to support the full repatriation of looted Benin artefacts, particularly those held by the United Kingdom, which is believed to possess the largest collection of these historic treasures. Dr. Cory Gundlach, Curator of African Art at the University of Iowa, and the Richard Lander Society have both assured the Benin Monarch, Oba Ewuare II, that efforts are ongoing to ensure the return of artefacts scattered across museums in the United States and Europe. The Nigerian federal government, under former President Muhammadu Buhari, formalised its stance in an official gazette, declaring that all repatriated Benin artefacts must be returned to the Oba’s Palace. The gazette vested in the Oba the ownership, custody, and management rights of all returned pieces, underscoring the palace’s central role in preserving Benin’s cultural heritage.

    However, the issue of where the artefacts should be publicly displayed has sparked controversy. While Oba Ewuare II advocated for a new Benin Royal Museum, former Edo State Governor Godwin Obaseki initiated the construction of the Museum of West African Art (MOWAA) through a trust arrangement, a move strongly opposed by the Benin Royal Palace. Although MOWAA’s construction continues, Oba Ewuare II has identified the Oba Akenzua II Cultural Centre—located near the palace on Airport Road—as the appropriate venue for the renamed Benin Royal Museum. Built during the regime of General Sani Abacha, the centre is now being revitalised to house the sacred artefacts. Receiving the 119 artefacts returned by the Netherlands, Oba Ewuare II revealed that divine intervention thwarted plans by international cartels to re-loot the objects, crediting his prayers to God and the ancestors.

    According to him, “I thank President Bola Tinubu for supporting and committing to the efforts former President Buhari put in place to ensure the artefacts are not re-looted because there were groups in this country believed to be an international cartel that had all sorts of conspiracy to re-loot our artefacts. They stole and burnt our Kingdom.

    They killed my people, their morale and try to kill their spirit and their morale. Today, I lament the fact that the people of Benin Kingdom, the boldness, courage and bravery is still there. Events of 1897 reduced that to significant level that sometimes when I see my people, they are afraid of the unknown.

    “The return of these objects has reawakened the courage we had in our people. We do not want modern day politics; we do not want partisan politics to diminish the courage of our people. The Director General of the National Commission for Museums and Monuments has been doing a wonderful work. His predecessor was part of the conspiracy to re-loot our artefacts. We had a running battle in this hall. I addressed my Chiefs in Benin language and I said these artefacts belong to my ancestors and I will not sit on the ancient throne and watch the artefacts re-looted.

    They rather remain where they are than being re-looted. I thank the government of Netherlands for working with us. This is part of the efforts to reawaken the morale and spirit of my people.”

    Receiving the artefacts, Oba Ewuare II said God and the ancestors answered his prayers against those that planned to re-loot the artefacts. Oba Ewuare II said there was an international cartel within the country that wanted to loot the returned artefacts. The Benin Monarch said he would not sit on the ancient throne of his ancestors and watch the returned artefacts re-looted. He said events of 1897 reduced the Benin Kingdom to significant level that killed the courage, bravery and morale of Benin youths. “The return of these objects has reawakened the courage we had in our people. We do not want modern day politics, we do not want partisan politics to diminish the courage of our people.

    “After 1897, the kingdom was reduced. There was a government in this state that wanted to reduce the kingdom more and scatter it. I am angry when I speak about it. Why would anybody as we have managed to retain wanted to scatter it. The youths were courageous and liked the youths of those days. They were not afraid of anybody. I vowed that it will not happen. Not in my reign. Not while I am sitting on this throne. God heard my prayers, my ancestors heard my prayers. This throne is not partisan but I should support what is good for my people. I urge the youths to be tough and strong in the face of adversity. This is not for anybody else. It is for my ancestors.”

    Governor Monday Okpebholo has promised that his administration would build necessary infrastructure to preserve the returned artefacts as well as collaborate with the federal government to improve the storage system for the artefacts. Edo people and the rest of the world are waiting for the official opening of the Benin Royal Musuem for the purpose of connecting to the history of an ancient empire.

  • Celebrating Nigeria’s cultural soul at Gateway Games

    Celebrating Nigeria’s cultural soul at Gateway Games

    In a dazzling convergence of sport, culture and national pride, Gateway Games 2024 came alive in Abeokuta as more than a tournament—it was a soul-stirring spectacle of unity and identity. With tradition and talent radiantly on display, Nigeria’s 22nd National Sports Festival has become a triumphant tribute to the nation’s rich cultural essence, reports Associate Editor ADEKUNLE YUSUF

    By every stretch of grandeur, symbolism and cultural expression, the 22nd National Sports Festival—aptly dubbed the “Gateway Games 2024”—opened not merely as a sports tournament but as a national rebirth. As the sun dipped below the rugged hills of Abeokuta on Sunday, May 16, the refurbished MKO Abiola Stadium roared to life, hosting a ceremony that will likely be remembered as one of the most dazzling moments in the history of Nigeria’s sporting tradition.

    It was not just the spectacle that seized the nation’s attention—it was the sheer orchestration of unity, ambition and cultural soul that permeated the night air. When Vice-President Kashim Shettima, representing President Bola Tinubu, declared the games open, it was a reaffirmation of Nigeria’s long-standing belief that sport is more than competition—it is communion.

    For over 10,000 spectators, Sunday’s opening ceremony was a rare blend of rhythm, colour, and cultural storytelling. A sea of flags, chants and coordinated dances swirled across the main bowl as the 36 states and the Federal Capital Territory proudly marched in procession. The athletes, clad in distinct traditional and contemporary attires, painted a living portrait of Nigeria’s astonishing diversity—and its will to stay united, even in challenging times. Team Ogun, the host state, led the parade with understated pride and undeniable elegance. Yet, the familiar competitive glint was evident in the confident strides of Team Delta (defending champions), Team Lagos, Team Bayelsa, and the FCT.

    As each contingent entered, cheers erupted in waves, rolling across the stands like a tide of shared hope. While the dancers—both traditional and modern—drew their power from Nigeria’s layered history, the symbolic Gateway performance served as the spiritual crescendo of the evening. It was a performance steeped in metaphor, portraying Ogun State as not just a geographical gateway, but as a philosophical one—bridging generations, regions and ideologies.

    Few events manage to assemble such a constellation of national figures outside political or electoral cycles. Yet, the Gateway Games brought together an enviable roll call of personalities whose presence alone elevated the night’s import. Former President Olusegun Obasanjo, a son of Ogun soil, was joined by Nobel Laureate Prof Wole Soyinka, adding literary gravitas to the sporting affair. Governors Charles Soludo (Anambra), Hope Uzodimma (Imo), Ademola Adeleke (Osun), and Usman Ododo (Kogi) added their weight, as did former governors Olusegun Osoba and Gbenga Daniel. Inspector General of Police Kayode Egbetokun, National Assembly members, and the revered Alake of Egbaland, Oba Adedotun Aremu Gbadebo, also stood in attendance. It was a night where hierarchy dissolved into shared joy—a rare convergence of Nigeria’s civic, cultural and political elite under one roof.

    No Nigerian celebration is complete without music, and the Gateway Games delivered with sonic elegance. Soulful singer Bukola Elemide, better known as Asa, opened with poignant renditions of the national and Ogun State anthems, her voice soaring above the stillness and infusing the air with dignity. Then came Davido—the Afrobeats phenomenon and cultural ambassador—who brought a different energy. With hits from his newly-released “5ive” album and timeless favourites, he turned the stadium into a carnival of pulsating lights and dancing bodies. If Asa brought reflection, Davido brought catharsis.

    Yet, between the measured notes of Asa and the electric frenzy of Davido, the Loud Urban Choir and other cultural troupes layered the night with harmonies that told stories older than the federation itself. It was, indeed, the sound of Nigeria—discordant yet melodic, fractured yet whole.

    For Bukola Olopade, the director general of the National Sports Commission, the event carried personal resonance. Nineteen years ago, as Ogun’s sports commissioner, he oversaw the state’s first hosting of the National Sports Festival in 2006. Standing now on the same soil, with upgraded facilities and even grander ambitions, his nostalgia was evident—and so was his pride. “This is more than a sports festival. It is a promise kept, a dream rekindled,” Olopade remarked, his voice thick with emotion. And he was not overstating. For Ogun State, this festival is a homecoming—not just for athletes and officials, but for a state that has always viewed excellence as both destiny and duty. Commissioner for Sports Development Wasiu Isiaka also echoed the sentiment, describing the festival as “a statement of Ogun’s capacity to deliver world-class sporting infrastructure, hospitality, and community engagement.”

    Read Also: Gateway Games Ogun 2024: ‘Sparkling-splendour’ opening ceremony delights Dare

    With over 15,000 athletes competing in 549 events, this year’s edition may go down as the largest in the festival’s 52-year history. From Abeokuta to Sagamu, Ikenne to Ijebu-Ode, every host city has undergone infrastructural upgrades—testament to Ogun’s vision of sport as a vehicle for both human and urban development. More than 2,000 medals—626 gold, 626 silver, and 898 bronze—are up for grabs, yet the stakes transcend podium finishes. The National Sports Festival has always been a crucible of future Olympians. From Chioma Ajunwa to Blessing Okagbare, from Daniel Igali to Tobi Amusan, many of Nigeria’s global stars first found their spark at this very forum. Now, Ogun beckons a new generation—athletes whose names we may not yet know, but whose determination, grit and talent could one day hoist the national flag on global stages.

    It bears reminding that the National Sports Festival was conceived in 1973 as a tool for healing—a post-civil war strategy to foster unity in a country fractured by conflict. In the decades since, its relevance has sometimes wavered, side-lined by politics, economic downturns, or sheer neglect. But Gateway Games 2024 may have reversed that tide. In a time when Nigeria grapples with identity politics, youth restlessness and security anxieties, the festival has become more than sport—it is a national reawakening. Every whistle blown and baton passed this fortnight is an act of optimism, a signal that Nigeria still believes in itself.

    The early logistical successes of the festival point to a model worth studying. According to Olopade, 23 states had arrived before the official kick-off, and the state had ensured that “feeding and welfare are top-notch.” That may sound like a footnote, but in Nigeria, where even national tournaments are sometimes mired in organisational chaos, this is no small feat. The blend of state investment, private partnerships and clear vision offers a template for other states aiming to use sport not only as entertainment but as development. Indeed, Ogun State’s delivery of Gateway Games 2024 reaffirms that with political will and strategic planning, even the most ambitious undertakings can be achieved within budget and timeline.

    For two weeks, the spotlight will remain on Ogun. Eyes will scan leader boards. Athletes will chase time, distance, and glory.

    The crowd will cheer. The drums will beat. And quietly, history will be written again—one leap, one sprint, one goal at a time. But the true victory of Gateway Games 2024 will not be measured by medals. It will be found in the dreams it ignites, the friendships it forges, and the national conversations it rekindles. In an age of cynicism, where patriotism often falters under the weight of hardship, this festival reminds us that Nigeria—at its best—is a country of relentless hope. So, as the athletes compete and the nation watches, let the games be more than games. Let them be a celebration of who we are, a challenge to what we can become, and a declaration that, through unity and excellence, Nigeria will rise.

  • How 2025 AMVCAs raise the bar, eyebrows

    How 2025 AMVCAs raise the bar, eyebrows

    On a night where elegance met emotion and applause masked deeper murmurs, the 2025 AMVCAs emerged not just as a celebration, but as a reflection. Beneath the shimmer of gowns and spotlighted triumphs, Africa’s storytellers gathered in Lagos to honour craft — and confront questions. From history to hope, acclaim to controversy, the night revealed more than winners; it showcased the soul of a cinema industry both rising and reckoning, report Entertainment Editor, GBENGA BADA and ADENIYI ADEWOYIN

    In the glimmering heart of Lagos, where the city’s pulse thrums with the rhythm of dreams and industry, a night of cinematic reverence came alive over the weekend. The 11th edition of the Africa Magic Viewers’ Choice Awards (AMVCAs) lit up the Eko Convention Centre at the Eko Hotel and Suites, transforming Adetokunbo Ademola Street into a corridor of elegance, promise, and the triumphant sound of Africa’s creative ascent.

    For an evening, the continent’s most brilliant filmmakers, actors, writers, editors and technicians stood in unity — not just as competitors in 27 prestigious categories, but as custodians of a growing legacy. A legacy nurtured from fan-voted beginnings and now elevated to a refined institution of peer-reviewed excellence, with 18 categories decided by a respected jury of seasoned professionals. From its modest origin to a revered hallmark of achievement, the AMVCAs have become more than an award ceremony — they are a celebration of Africa’s kaleidoscopic storytelling power.

    Veteran broadcaster and showman IK Osakioduwa returned to the stage, this time joined by a striking young co-anchor — 16-year-old David Oke — whose charm and confidence belied his age. Together, they carried the ceremony with humour, grace, and a touch of generational balance, enlivening the three-hour broadcast that went live across all Africa Magic channels. The interludes between awards were textured with soulful performances from some of Nigeria’s finest: Johnny Drille’s acoustic melancholy, Serotonin’s infectious beats, Chima’s evocative melodies, Kunmie’s fusion sound, and Fido’s commanding presence each layered the night with musical elegance. But it was the stories — real and fictional, told and honoured — that reigned supreme.

    At the very core of the night’s acclaim stood Freedom Way, a film that edged out the competition to claim the coveted Best Movie Award. Its victory was the climax of the evening, met with applause, admiration and — later — controversy. In a powerful and emotionally resonant sweep, Seven Doors emerged as a standout. Not only did it showcase the depths of human resilience, but it also delivered unforgettable performances. Femi Adebayo and Chioma Chukwuka, both icons, earned Best Actor and Best Actress respectively for their commanding portrayals. Composer Tolu Obanro made history as the inaugural winner of the Best Original Score, marking a new chapter in how the awards recognise the technical brilliance underpinning cinema.

    The AMVCAs also celebrated linguistic diversity through Lisabi: The Uprising, a powerful historical narrative that scooped multiple honours — Best Indigenous Language Film (West Africa), Best Makeup, Best Art Direction, and the top award for Best Indigenous Language Film overall. The triumph was a vivid reminder of how indigenous stories continue to assert their importance in contemporary African filmmaking. The Legend of the Vagabond Queen of Lagos dazzled with its visual grammar, winning Best Cinematography through the lens of Leo Purman, while Inkabi was finely sculpted in the edit suite by Tongai Furusa, who won Best Editing. In supporting roles, Gabriel Afolayan’s compelling performance in Inside Life earned him Best Supporting Actor, while Mercy Aigbe, in The Farmer’s Bride, clinched Best Supporting Actress. Inside Life also triumphed as Best Scripted Series, reinforcing its cultural and narrative relevance.

    Reflecting the rapidly shifting media landscape, this year’s AMVCAs embraced digital content and short-form storytelling with a sincerity that mirrored Africa’s youthful demography. Iyo Prosper Adokiye was named Best Digital Content Creator, validating a new era of creators who wield smartphones as storytelling swords. Brukaci secured Best Short Film, a quiet triumph for brevity and impact. The unscripted world also found its spotlight. Nigeria Idol, a consistent ratings magnet, was lauded as Best Unscripted M-Net Original, while Wa Milele walked away with the Best Unscripted Series title — evidence of the enduring power of real-life storytelling.

    One of the night’s most-stirring moments came when Kayode Kasum received the Trailblazer Award. The young director, known for his fresh visual language and sensitivity to contemporary narratives, was visibly moved as he accepted the accolade — a symbolic passing of the torch to a new generation. Equally poignant was the presentation of Industry Merit Awards to Nkem Owoh and Sani Mu’azu. For decades, their faces and voices have animated African living rooms, their artistry shaping the very fabric of Nollywood. Their honour was less a nod to the past and more a declaration that legends walk among us.

    The Best Director Award went to Awam Amkpa for The Man Died, a film that had swept 13 other industry awards and closed the African Film Festival at Lincoln Centre in New York. His win was, however, not without raised eyebrows, given that the film’s producer, Femi Odugbemi, also chaired this year’s AMVCAs jury.

    Read Also: AMVCAs: UcZhe Ikejimba secures sixth nomination

    Other notable wins included Suspicion for Best Sound Design, Christmas in Lagos by Ademola Adeyemi for Best Costume Design, and Freedom Way again for Best Writing in a Movie — further reinforcing its dual status as both a narrative and structural feat. Untying Kantai by Abel Mutua Musyoka took Best Writing in a TV Series, showcasing cross-regional talent.

    From Lusaka to Lagos, Nairobi to Nelspruit, the continent spoke through film. Regional categories reminded everyone that African cinema is not a monolith. Mwizukanji triumphed as Best Indigenous Language Film (South Africa), Makosa Di Tangu for East Africa, and Onye Agbata Obim as Best Indigenous M-Net Original. My Fairytale Wedding was honoured as Best Scripted M-Net Original, while the Best MultiChoice Talent Factory Film, Everything Light Touches, underscored the future promise of emerging creatives.

    As the confetti settled and applause echoed into the Lagos night, murmurs of discontent began to rise. At the centre of controversy were two of the night’s biggest wins — Best Director and Best Movie. While no one doubted the cinematic excellence of The Man Died, critics pointed to a conflict of interest. That its producer also presided over the jury cast a shadow, however faint, on what should have been an unambiguous triumph. Could the jury have recused itself from categories involving its own productions? Was transparency sacrificed for excellence?

    The Best Movie award to Freedom Way also sparked debate. How did a film without nods for Best Cinematography, Editing, Acting, or Art Direction emerge as the overall winner? It raised questions not about the film’s merit, but the coherence of jury decisions and the criteria employed. The AMVCAs, now partly peer-reviewed, stand at a delicate intersection — between crowd-pleasing and critical rigour, between spectacle and scrutiny. The controversies, while unfortunate, are perhaps proof of a maturing industry. One that is not afraid to ask questions of itself.

    The 2025 AMVCAs were, undoubtedly, a visual and cultural feast — a night of celebration, self-reflection, and cinematic splendour. They showcased the best of what Africa has to offer: audacity, originality, craft, and colour. But they also left room for introspection. As African cinema continues to expand its reach — to streaming platforms, global festivals, and new audiences — so too must the standards of honour and judgement evolve. For now, the stars have taken their bows, the gowns and tuxedos returned to their wardrobes, and the afterparties faded into memory. But what lingers is the promise of a continent forever in bloom — telling its stories, in all their beauty, complexity, and contradictions. The AMVCAs are not just awards. They are a mirror. And on May 10, Africa gazed proudly at its reflection — bold, bright and ever becoming.

    Speaking on the significance of this year’s event, Executive Head of Content and West Africa Channels at MultiChoice, Dr. Busola Tejumola, offered a reflection as stirring as the night itself. “The AMVCAs reflect the ambition of a continent in motion. These stories are no longer emerging, they are defining global conversations. Africa Magic and MultiChoice are proud to be the platform of that power,” she said.

    Her words rang true. From the grandeur of the red carpet to the sincerity of acceptance speeches, from the musical interludes to the cultural fusion of nominees across Africa, the night offered more than awards — it offered a statement. A statement that African cinema is not waiting to be discovered. It is writing itself boldly into the global narrative.

    Industry insider defends jury integrity amid criticism

    The Nation reached out to the organisers of the AMVCAs for a response to the growing conversations and controversies but none was given.

    Speaking on condition of anonymity, an industry insider defended the integrity of the process, particularly regarding the Best Director win for The Man Died, directed by Awam Amkpa and produced by Odugbemi, who also chaired this year’s jury. “I don’t understand the noise about Anwa Akpam winning Best Director for the film, The Man Died.

    Yes, Odugbemi is the producer but that doesn’t stop him from submitting his film. All these while he has been submitting his works that didn’t get nominations or didn’t get to win, no one has made any noise.

    “I can tell you that the policy is that when a judge or head judge submits a film for the award, he or she doesn’t even know if the film will get a nomination or not but if the film gets a nomination and it’s time for voting, the judge is excused from judging his or her own film. Odugbemi is a man of high integrity and I can tell you that the organisers of AMVCAs don’t joke with such thing as integrity but you know people are always aggrieved year in year out that their favoured films didn’t get the expected wins,” he said.

  • Honours for 15-yr-old autistic prodigy

    Honours for 15-yr-old autistic prodigy

    Nigeria’s flag was once again raised high with a 15 years old Kanyeyachukwu Tagbo-Okeke, achieving the impossible, setting a global record in artwork thereby shattering the previous Guinness World Record for largest painting by an individual.  Kanye, an autistic prodigy record-breaking 12,303.87 square metres artwork dumped into the bin the previous record of 9,632 square metres.

    Kanyeyachukwu had on November 24, 2024 broken the Guinness world record for the largest canvas painting, when he painted on 12,303.87 square metres canvas to dust the previous record.

    The artwork themed Impossibility is a myth meant to create autism and mental health awareness. The artwork has since continued to attract commendation as Kanye by his record setting artwork has proven that there is always ability in every disability.

    Kanye’s record breaking feat was unveiled in Abuja on Wednesday with the Guinness World Record issuing him a certificate for the largest artwork by an individual.

    The unveiling has in attendance the Minister of Art, Culture, Tourism and Creative Economy, Hanatu Musawa, the Chief of Defence Staff, Christopher Musa, UN Resident Coordinator in Nigeria,  Director General, National Art Gallery, Ahmed Bashir Sodangi amongst many dignitaries, which also include artists and other well-wishers who thronged the popular Eagle Square to cheer the young autistic prodigy.

    President Bola Tinubu, who was excited by the feat, celebrated Kanye’s achievement, saying it has drawn global attention, not only for its artistic magnitude but also as a testament to the limitless potential of individuals with autism.

    “You said, Impossibility is a myth,’ and you set out to prove that impossibility was nothing when you created the largest art canvas in the world at 12,303.87 square meters,” President Tinubu wrote in a tribute on his verified X handle.

    “You are brave, audacious, and tenacious. Your story has made history, and Nigeria is proud of you, Kanyeyachukwu Tagbo-Okeke.”

    Speaking at the unveiling, Minister of Art, Culture, Tourism and Creative Economy, Hanatu Musawa and the Chief of Defence Staff, Gen. Christopher Musa promised to support talents in the country, with the aim of harnessing them for the development of the nation.

    Musawa said the feat is proof that with the right opportunity and guidance, our young people can achieve the unimaginable. The Minister said: “It is with great joy that I stand before you today, as we come together to celebrate an extraordinary achievement. Today, we are not only witnessing the breaking of a world record, but also the triumph of determination, perseverance, and the unrelenting spirit of the Nigerian youth.

    “We are here to honour fifteen year old Kanyeyachukwu Tagbo-Okeke, a young Nigerian prodigy if I may say, who has shown the world what is possible when passion meets hard work. By breaking this world record, Kanyeyachukwu has not only set a new record but has also demonstrated to us all that age is no barrier to greatness.”

    The Minister stressed that the ministry “is committed to nurturing and supporting the talents of young people such as Kanye.

    Read Also: How my autistic uncle inspired me to start ‘Crown and Calm’ – Gloria Oyouwa

    “His achievement today is proof that with the right opportunity and guidance, our young people can achieve the unimaginable.”

    She stressed that Kanyeyachukwu’s achievement is for the entire nation, adding that “it is indeed a historic and inspiring milestone.

    The Chief of Defence Staff, General Christopher Musa in his remarks described the feat as further attestation of the renewed hope and resilience of the Nigerian people.

    Musa who was represented by the Chief of Defence Civil-Military Relations at the Defence Headquarters, Rear Admiral Olusanya Bankole noted that Kanye’s success is a pointer on the need to prioritize talents, discovering and making concerted efforts to support gifted individuals with appropriate platforms that will showcase and elevate them to limelight.

    “This is particularly important as Nigeria faces contemporary security threats that require both kinetic and non-kinetic measures,” he added.

    He added: “Today’s event offers us another dimension to tackling insecurity through non-kinetic means. By nurturing and showcasing talents, we can easily win the hearts and minds of people, encouraging them to embrace legitimate endeavours that project their image positively, rather than resulting in crime and acts of terror as a means to make their voices heard.

    “As we join other great Nigerians to celebrate the Guinness Book of World Records, let us be ever reminded that indeed, impossibility is only a myth.  Kanye’s journey is a compelling narrative of determination, creativity, and perseverance. Despite the challenges associated with autism, he has defied limitations and redefined the artistic world.”

    The Guinness World Record Adjudicator, Mr. Glenn Pollard, expressed excitement over the feat achieved by Tagbo-Okeke who started the paintings in November 2024. Pollard said: “Your paint on the canvas of 12,303.87 m² and smashed all records in November last year.

    “This is your certificate Kanye, for this your fantastic record, on behalf of the Guinness World Records, I will say you were exceptionally amazing and well done for your achievement.”

     UN Resident Coordinator in Nigeria, Mohamed Fall, described the art piece as an extraordinary masterpiece, one that not only breaks records but also breaks barriers.

    He noted that disability inclusion is central to the Sustainable Development Goals (SDGs), adding that the 2030 agenda for sustainable development calls for leaving no one behind, and this includes ensuring that persons with disabilities, like Kanye, have equal access to opportunities, education and employment. Falls, who was represented by the UNICEF Representative in Nigeria, Cristian Munduate, observed that true progress can only be achieved when societies embrace diversity and create environments where every child, regardless of ability, can contribute meaningfully and reach their full potential.

    She said: “It is a moment of awareness day and thus we are witness to unveiling an extraordinary masterpiece, one that not only breaks records but also breaks barriers.

    “Today we are celebrating Kanyeyachukwu, a young artist, whose talent and determination have captivated the world and is now inspiring children in Nigeria. His greatest world record achievement is not just a personal milestone but a very powerful testament to the limitless potential of what you can achieve with will. Helping and supporting people with disabilities helps so much the achievement of the Sustainable Development Goals around the world.

    “When we speak about autism and the opportunity that can be given to children and to many adolescents, we are talking about specific Sustainable Development Goals. And the purpose is leaving no one behind and this includes that all people with disabilities, like the ones in here, have an equal access to opportunities like access to education and employment. True progress can only be achieved when societies embrace diversity and create environments where every child, regardless of ability, can contribute to the experience, meaningful to which they are full of potential.

    “The United Nations is committed to advocating the rights of people and persons with disabilities and every child, especially those on the autism spectrum, to have equal opportunities as I mentioned, education, healthcare, and opportunities to thrive through inclusion and basic services.

    As we are admiring this breathtaking work of art, let us remind ourselves of our shared responsibility to create a world where all individuals are empowered, respected, and provided the space to express their full potential.”

    The Director-General, National Gallery of Art, Ahmed Bashir Sodangi, on his part said:  “The National Gallery of Art is committed to promoting and preserving Nigerian art, and we are proud to have played a role in supporting Kanye’s artistic heritage.  This award really marks a significant milestone in our effort to showcase Nigerian art to the world. As we marvel at the magnificent artwork, we remain touched as we remember Frisco’s famous and ugly title, Impossibility is a Myth.

    “We are reminded of the transformative power of art. Art has the ability to inspire, to educate, and to challenge our assumptions. It speaks to our shared humanity, invoking emotions, sparking imagination and prospecting hope.”

    The Canadian High Commissioner to Nigeria,  Mr James Christoff stressed the need for inclusion irrespective of background and circumstances.

    He said: “This journey is not only inspiring, but also proof of the power that comes from pushing beyond limits, both for persons with disabilities, but for all future generations. Various factors contribute to a person’s success, but society and community has a key role to play in recognising and embracing everyone’s diversity. In Canada, this belief is woven into the very fabric of our culture.

    “Equally important is our commitment to ensuring that everyone, regardless of their background or circumstances, has the same opportunity to succeed. This commitment extends to the inclusion of vulnerable groups, including persons with disabilities. In my country, we strive for a society where everyone has the chance to thrive, taking into account their unique challenges and starting points.”

    He further added: “We understand that our differences contribute to the strength of our nation. This belief is reflected in the way we live, interact, and express ourselves. It can be seen in our art, heard in our music, and even tasted in our diverse cuisine, as I have experienced here in Nigeria.”

    The proud father of GWR holder, Mr. Tagbo-Okeke, said the feat is a celebration of expansion of human capacity to do what many regard as impossible.

    Tagbo-Okeke said at the beginning many had doubted the possibility, hence the title “impossibility is myth”.

    He said: “Today we are here celebrating World Autism Day and at the same time we are celebrating what can be called the expansion of human capacity to do what many regard as impossible.

    “The theme of my son’s art piece, its title is Impossibility is a Myth. “We gave it that title because we knew that when we started to talk about this project, a lot of people said it was going to be impossible to do.

    “And then we just said that this impossibility that they are speaking about is going to be a myth and today Kanye has proved it. This art piece took him three months to do.

    “We are grateful. We feel highly blessed and we feel highly favored with the people that have come to celebrate with him. We are highly blessed and thankful.

    “At the same time, we will not take away the fact, the main fact from this occasion. We are here to celebrate World Autism Day. And so what we are doing here is actually for the children that are living with autism, all over Nigeria, all over Africa, all over the world.

    “It was significant for us and we did it on purpose, that this painting will be revealed on World Autism Day, for the world to see what these children can do. They are specially gifted and what they need is tolerance and inclusion from everyone.”

  • ‘Diversity, representation central to conversations in filmmaking’

    ‘Diversity, representation central to conversations in filmmaking’

    Founder and CEO, Adinon Film Studio, Mr. Michael Okpara is one of the leading players in the film industry. He has over two decades of expertise in film production, consultation and industry leadership. With a proven track record of delivering high-quality projects and fostering successful collaborations within the entertainment industry, Okpara speaks on the power of film to shift perspectives and create cultural moments, the democratisation of filmmaking tools and access, how trust and transparency sustain collaboration, his love for authentic storytelling that impact people, OZOLUA UHAKHEME reports

    Your journey in the entertainment industry?

    My journey in the entertainment industry began with a deep love for storytelling. I started out in development at a small production company, reading scripts and writing coverage, which gave me an incredible foundation in understanding what makes a story work. From there, I worked my way up through various production roles, eventually producing my first independent film. That project solidified my passion for shepherding stories from concept to screen. What led me here was a combination of persistence, collaboration with incredible creatives, and a genuine belief in the power of film to shift perspectives and create cultural moments.

    What are some of the most significant projects you’ve worked on throughout your career and what impact did they have on the industry?

    A few projects stand out. One was an indie drama that went on to become a festival darling and sparked important conversations about mental health—it proved that small films can have massive cultural impact. Another was a mid-budget genre film that redefined expectations for representation in casting and storytelling; it not only performed well commercially but also shifted how studios viewed inclusivity as both artistically and financially viable. Most recently, I produced a streaming series that blended traditional narrative with interactive elements, pushing boundaries in viewer engagement. Each of these projects contributed in some way to evolving the industry’s understanding of what audiences want—and need—from modern content.

    Your impression of how the film industry has evolved over the past two decades?

    The biggest shift has been in distribution and how audiences consume content. When I started, theatrical releases were the gold standard. Today, streaming platforms dominate the conversation. We’ve also seen a democratisation of filmmaking tools and access — people are making incredible films with minimal budgets and reaching global audiences. On the business side, data and algorithms now play a much larger role in green lighting decisions, which has its pros and cons. Diversity and representation have also become central conversations, and we’re finally seeing some real changes in whose stories are told and who gets to tell them.

    Read Also: OMONI OBOLI: I don’t produce YouTube films for accolades

    What has been the most challenging project you’ve worked on, and how did you overcome them?

    One of the most challenging projects was a historical drama we shot in an international location with a tight schedule and budget. Logistically, it was a beast — weather issues, permit problems, and language barriers all posed real hurdles. But what got us through was a relentless, problem-solving mindset and a team that believed in the story we were telling. I leaned heavily on local production partners and focused on building trust and flexibility into every part of the process. The experience taught me that preparation is crucial, but adaptability is what actually gets a film made.

    What has contributed most to your success in delivering high-quality projects?

    Strong relationships and commitment to story above all else. I’ve been fortunate to work with incredibly talented individuals, and I make it a priority to create an environment where people feel empowered to do their best work. I also focus heavily on development—if the story isn’t strong on the page, it won’t work on the screen. A disciplined approach to development, coupled with clear communication, has consistently delivered results.

    How do you foster collaboration among diverse teams to ensure a project’s success?

    It starts with cultivating trust. I make it a priority to listen actively and ensure everyone feels heard and valued. I also believe in transparency—being upfront about challenges and expectations. Every voice brings something unique to the table, so I encourage open dialogue and create structured opportunities for cross-departmental collaboration. A united team with shared purpose is unstoppable.

    What current trends do you see shaping the future of film production and the entertainment industry?

    We’re in a transformative era. Virtual production, AI-assisted tools, and real-time rendering are speeding up workflows and lowering costs without compromising quality. Audiences are also becoming more global, which is leading to a greater demand for culturally authentic stories. There’s a shift toward hybrid distribution models too, where streaming and theatrical releases co-exist in more strategic ways.

    How important is diversity within the industry, and how can it improve inclusivity?

    Diversity is essential—not just for fairness, but because it enriches storytelling. Different voices bring new perspectives, which leads to more authentic and emotionally resonant films. To improve inclusivity, we need to create more opportunities at all levels—from casting and crew to decision-making roles like directors and producers. Mentorship programmes, inclusive hiring practices, and access to funding for underrepresented creators are key steps.

    What role will technology play in the future of filmmaking?

    Technology is already transforming the way we tell stories, and that trend will only accelerate. Virtual production, AI tools, and real-time rendering are reducing barriers and enabling more imaginative worlds. But tech should always serve the story—not replace creativity. I see it as a partner in the creative process, not the director.

    What legacy do you hope to leave within the industry?

    I hope to be remembered as someone who championed authentic storytelling and opened doors for others. I want my legacy to be about impact—projects that made people feel something, and a career that helped lift other voices into the spotlight.

  • Rising calls for gender equality in politics

    Rising calls for gender equality in politics

    As Nigeria strives for democratic progress, a growing movement is demanding greater gender equality in politics. Key figures from Nollywood, media, and entertainment are pushing for increased female participation, emphasising that women’s voices and leadership are crucial for building a more inclusive, representative and effective political system, reports Associate Editor ADEKUNLE YUSUF

    As the world continues to evolve, so do the calls for gender equality and the empowerment of women in all sectors of society. In Nigeria, the push for greater representation of women in politics is intensifying, as key stakeholders in sectors such as Nollywood, media and entertainment rally for change. The recent event titled Stronger Together: Special Seats for a More Inclusive Democracy, held recently in Lagos, gathered influential figures in these fields to advocate for the increased participation of women in political leadership.

    The event, organised by Kimpact (KDI), in collaboration with UN Women, and supported by the United Kingdom’s International Development and the Canadian Government, became a powerful platform to call for greater gender equality in Nigeria’s political arena. The message was clear: if Nigeria is to achieve true democratic progress, it must break free from its patriarchal traditions that have kept women marginalised in the political arena.

    In a nation where women make up more than half of the population, their underrepresentation in political decision-making has long been a concern. The event shone a light on the persistent challenges women face in securing leadership positions, despite their vast potential to contribute to the nation’s growth and development. Leading voices at the event, including theatre director and playwright Ifeoma Fafunwa, made it clear that the time has come for more systemic efforts to ensure that women occupy a larger share of political seats.

    The statistics shared at the event were sobering. Fafunwa, a seasoned theatre director and playwright, emphasised the alarming regression Nigeria has faced in terms of women’s political participation over the last decade. “We are the worst African nation in terms of women’s participation in leadership,” Fafunwa stated, pointing to the disturbing fact that despite global calls for gender equality, Nigeria has made little progress in empowering women to take on leadership roles.

    One of the most striking revelations came from Fafunwa herself, who expressed her disbelief upon discovering that Nigeria has actually moved backward in terms of women’s political representation. According to the event’s statistics, Nigeria ranks as the worst African country for women’s involvement in leadership roles. Fafunwa, who has long championed gender equality, voiced her profound concern over this troubling trend, emphasising that these statistics are not just numbers but represent missed opportunities. These lost opportunities deny the nation the chance to benefit from the diverse leadership styles and perspectives that women can bring to the table.

    Her words were powerful and echoed a growing sentiment among those in attendance: While the challenges women face – such as limited financial resources, time constraints and societal expectations – cannot be overlooked, these obstacles should not be used as excuses to block women from pursuing leadership roles. Instead, Fafunwa called on the government to enforce the 35% affirmative action policy for women’s inclusion in politics. This policy aims to ensure that a certain percentage of political positions are held by women, thus fostering a more balanced and equitable political environment. Fafunwa stressed the need for the creation of more political positions for women, suggesting that young women would be encouraged to aspire to political leadership if they saw more opportunities available to them. “Let’s create these positions, then the young women will start aspiring and working toward them,” she said, urging all stakeholders to support the effort. Furthermore, she emphasised the importance of leveraging the media to portray successful women in leadership roles. By doing so, the media could help shift societal attitudes toward women in power and inspire the next generation of female leaders.

    Read Also: Continental Hotels Group commits to gender equality

    The event’s discussions also underscored the role that media and entertainment can play in shifting public perception and inspiring future generations of women leaders. Obukome Ibru, a producer and politician, shared her thoughts on the power of storytelling. According to Ibru, the negative stereotypes that often surround women in politics could be addressed by encouraging directors to tell the stories of women who have successfully navigated the political landscape. By portraying positive stories of women in politics, the media could help break down the barriers that discourage other women from participating in politics. “We are going to encourage directors to tell the stories of women in politics who have done well,” Ibru said. “We’re going to portray the positive side of those stories so that other women can watch and understand, they can rise up, take positive steps, and participate without being looked down on.”

    Ibru’s words were met with nods of agreement from others in the room, including Nigerian stand-up comedian and actor Anita Asuoha, better known as Real Warri Pikin. Asuoha, who is widely recognised for her work in entertainment, pointed out that women are not seeking to dominate men in the political sphere, but simply asking for their fair share of representation. “We’re not even up to 10% in leadership; we need to be represented,” Asuoha said, urging content creators and writers to create works that resonate with the call for gender equality and inclusion.

    The role of the entertainment industry in transforming perceptions of women in leadership was a recurring theme throughout the event. Veteran actress and director Joke Silva weighed in on the importance of understanding the issues at the heart of the gender imbalance in politics. Silva, who has had a long and successful career in both acting and directing, pointed out that many stories told in films and TV shows sometimes reinforce patriarchal views about women. This, she argued, is because the writers, directors and producers may not always be aware of the unintended implications of their work.

    Citing examples from Nigerian films, Silva noted that women in these stories are often portrayed in ways that reflect societal biases. These portrayals can perpetuate the belief that women are less capable of holding leadership positions. “The writers do not know that is what they are doing. If they have information, then the story will change,” Silva explained, calling for a paradigm shift among stakeholders in the entertainment industry.

    This call for change was further reinforced by Adesuwa Onyenokwe, the publisher of Today’s Women magazine. Onyenokwe acknowledged that the push for constitutional amendments that would reserve more seats for women in parliament could be met with resistance. However, she argued that the quota system has proven successful in other parts of the world. She pointed to statistics from countries that had seen a significant increase in women’s representation in their parliaments after adopting a quota system. “Statistics have shown that nine out of the top 10 countries that have witnessed the highest growth in the number of women in their lower house, that’s an example of parliament, they have used quotas,” Onyenokwe said.

    While the costs associated with such a system might be seen as a drawback, Onyenokwe emphasised that these costs were nothing compared to the economic losses Nigeria continues to face by not having more women in leadership roles. “That money is nothing compared to the $90 billion that we are losing already by not having a house that is built where women and men have opportunities,” she added, underscoring the economic and social benefits of greater female representation.

    As the event drew to a close, it was clear that the battle for greater women’s participation in Nigerian politics is far from over. Adebo Ogundoyin, Chairman of the Conference of Speakers, pointed out that the percentage of women interested in politics is still relatively low, and that efforts must be made to increase this number. He urged women to continue organising and holding conferences, workshops and large gatherings with civil society groups, non-governmental organisations and politicians to keep the conversation going.

    “Are you having these conversations, or are we just having these seminars and then going home to relax? We have to inspire them because, on the day-to-day struggles, we will not be there with them,” Ogundoyin said, emphasising the importance of consistent action and support.

    He called for sustained action and engagement, encouraging women to organize conferences, connect with civil society groups, and engage with politicians to make their voices heard. Ogundoyin’s comments highlight the need for a broad, collective effort to encourage women to pursue political careers and to ensure that they are given the resources and support to succeed.

    As the event came to a close, the organisers united in their belief that the push for greater women’s participation in politics goes beyond gender equality; it is about creating a more inclusive, representative and effective political system in Nigeria. Speakers emphasised that women bring valuable perspectives, experiences and solutions that are crucial for the country’s progress. By advocating for policies that promote women’s involvement, using the media to highlight positive role models, and pushing for constitutional reforms, stakeholders said they are committed to laying the foundation for a more equitable and inclusive democracy in Nigeria where women and men have equal opportunities to shape the nation’s future.

  • Tributes flow for Mabel Segun at 95

    Tributes flow for Mabel Segun at 95

    Mabel Segun turns 95, and the literary world, led by Nobel laureate Prof. Wole Soyinka and Prof. Niyi Osundare, gathered to celebrate the matriarch of Nigerian literature. The day was filled with tributes, heartfelt memories and reunions, marking a milestone for a woman whose contributions continue to shape the literary landscape. EVELYN OSAGIE reports

    Mabel Segun’s 95th birthday celebration was a profound reflection of her rich and multifaceted life—a true gathering of reverence, recognition and reflection. The event drew respected figures from Nigeria’s literary and academic circles, including Nobel laureate Prof. Wole Soyinka, renowned poet Prof. Niyi Osundare, and Dr. Wale Okediran, the General Secretary of the Pan African Writers Association.

    Born in 1930 into the family of Reverend Isaiah Aigbovbioise Imoukhuede, Mabel Segun’s journey has been one of ground-breaking achievements. A woman of many firsts, she forged a path that inspired future generations. From literature to broadcasting to sports, she has excelled and garnered international acclaim. Her exceptional contributions to children’s literature and sports, particularly as a trailblazer in table tennis, are widely celebrated.

    The two-day event, themed ‘The Multifaceted Artistry of Mabel Segun,’ featured a range of activities designed to honour her enduring legacy. The celebration also featured a wide range of activities reflecting her various passions, including a children’s writing workshop inspired by her work in children’s literature, a mock table tennis tournament in honour of her sports legacy, and an exhibition that captured Mabel Segun’s World of Excellence. As part of the event, the official launch of the Mabel Segun Foundation was also announced, ensuring that her impact would continue to resonate for generations to come.

    A colloquium of tributes, organised by the Committee for Relevant Art (CORA), alongside her family, was a central feature of the celebration. It was here that those who had been touched by her work—friends, colleagues and family members—took turns to praise her influence. Among the most moving speeches was that of her younger brother, Frank Aig-Imoukhuede, who shared fond memories of their shared upbringing. He spoke of how their father’s influence shaped both of their paths, recalling the deep bond he shared with his sister and highlighting a special moment when she selflessly gave back a scholarship refund that had been given to him. Aig-Imoukhuede concluded that this small act spoke volumes about her character: generous, thoughtful, and always placing the needs of others before her own.

    Soyinka’s tribute to Mabel Segun beautifully captures her pioneering spirit and the way she shattered barriers long before the term “feminism” was widely used. Reflecting on their time at the University of Ibadan, he recalled how Mabel embodied the essence of equality. He compared her to a player in a soccer game, saying, “While some are busy looking for a ladder to climb over the wall and retrieve the ball… one of you had already climbed over the wall, retrieved the ball, tossed it back to your yard and followed the game by the same route. That person would be Aunty Mabel.” For Soyinka, Mabel was the person who acted decisively and paved the way for others, setting an example of what true equality looked like.

    Though soccer was not her favourite sport, Mabel’s true passion lay in table tennis, where she was a national champion. She competed internationally, representing Nigeria at the Commonwealth Games and other global events, often beating even the top male players. Beyond sports, Mabel’s impact was felt in literature and academia. She was a vibrant part of her university community, writing poetry, engaging in debates, and contributing to children’s literature. Soyinka’s tribute highlights Mabel Segun’s legacy as a woman who led by example, breaking down gender barriers in every field she entered. His heartfelt toast to her wishes for more healthy years, acknowledging the lasting influence she continues to have.

    In Prof. Osundare’s tribute to Mabel Segun, he emphasises her immense impact on Nigerian literature and society, highlighting her pioneering role as a female voice in a predominantly male-dominated literary landscape. He begins by congratulating Mabel, referring to her as “our Matriarch,” and expressing his wish for her to continue being a guiding presence for even longer. Osundare recalls first hearing her name during his high school years in the 1960s, but it was during his undergraduate years at the University of Ibadan that he truly began to engage with her works, particularly her poetry.

    Read Also: Mabel Segun: Iconic woman of literature, sports at 95

    He notes that while iconic male figures like Soyinka, Christopher Okigbo, JP Clark, and Gabriel Okara dominated the literary scene, Mabel Segun was a crucial female voice among them. He says, “Fortunately there was a female voice around them – and that was our own Mrs Segun.” This underscores the unique and vital role Mabel played in enriching Nigerian literature with her distinct perspective, especially during a time when the literary world was largely male-dominated. Osundare also highlights Mabel’s role as a trailblazer, noting that she was often the only woman in the company of influential male writers.

    He reflects on how this experience may have shaped her, saying, “Maybe this is what has strengthened her too and given her a kind of independence spirit you don’t find in others.” For Osundare, Mabel’s strength and sense of independence were key traits that set her apart and allowed her to face challenges with courage. Further, Osundare emphasises Mabel’s moral authority as a writer, describing her as not just a skilled wordsmith, but a “moral writer.” He also fondly recalls her involvement in the Association of Nigerian Authors (ANA) in 1981, recognising her dedication to the literary community and her role in shaping the direction of Nigerian literature.

    Dr. Okediran’s tribute to Mabel Segun on her 95th birthday is a heartfelt reflection on their long-standing relationship and the profound influence she has had on his life and career. He begins by expressing his honour and privilege in paying tribute to her, noting that “I consider it a great honour and privilege to give this tribute to Mama Segun on her 95th birthday.” Okediran shares that he has known Mabel for over 40 years, with their first connection being through her renowned book, My Father’s Daughter, which he read as a school text during his secondary school days. This book was a formative part of his early literary experience, as it was for many in his generation. From that point, their relationship continued to grow, particularly within literary circles like the Association of Nigerian Authors (ANA), where they both actively contributed to the growth and development of Nigerian literature.

    The tribute also highlights their professional collaboration on various literary projects, including the Encyclopaedia of Post-Colonial Literatures in English, published by Routledge. Okediran contributed entries on “African Authors” and “Literary Associations”, working alongside Mabel on this significant resource. As Mabel Segun celebrates her 95th birthday, Okediran joins the many people who have been mentored, inspired, and shaped by her. He concludes by wishing her “many happy returns of the day in good health and happiness,” a sentiment that resonates with all who have had the privilege of knowing and working with this remarkable woman. In Okediran’s words, Mabel Segun’s influence extends far beyond her literary contributions, touching the lives of all who have had the honour of working with her over the years.

    Omowunmi Segun, Mabel’s daughter, offers a deeply personal tribute that sheds light on the complexity of her mother’s character, shaped by her experiences and the influences around her. She acknowledges Mabel’s pioneering roles in both literature and sports, noting that over the years, people have described her in various ways. “Some say she’s difficult, quarrelsome and idealistic. Others refer to her as being kind, compassionate, helpful and generous with her time, but not money because that has always been a short supply.” This captures the multifaceted nature of Mabel, whose generosity and strong will coexist with a no-nonsense attitude. Omowunmi adds, “The image that comes to my mind is that of a powerful force that only manifests when roused deliberately or inadvertently.” She describes her mother as someone who has always been firm in her beliefs, “never suffering fools gladly,” and even at 95, “there is still no place for fools in her life.”

    Omowunmi reflects on the differences in personality between herself and Mabel, explaining that while Mabel may come across as timid to newcomers, her father’s influence shaped her personality, making her the strong, independent figure she became. “Her father… was a great influence in her life, even though he died when she was only eight.” Omowunmi draws parallels between her mother and her grandfather, especially after reading Mabel’s My Father’s Daughter, describing how Mabel’s father treated her no differently than a boy, reinforcing the message that no activities were reserved for boys alone. This philosophy stayed with Mabel throughout her life, and it was evident at the University College Ibadan, where she broke barriers by taking on the young men at table tennis and beating them.

    Mabel Segun’s granddaughter, Oluwafikemi, shares a heartfelt tribute, recalling how her grandmother’s literary legacy shaped her own love for reading. She fondly remembers Mabel’s books, especially Readers’ Theatre. Both tributes highlight how Mabel’s influence, transcending literature and sports, inspired her family to value independence and break boundaries.

    Kayode Aderinokun, former Chairman of the ANA Lagos Chapter, also highlighting Mabel Segun’s remarkable achievements in both literature and sports. He noted that while Omowunmi’s tribute beautifully captured her mother’s essence, Mrs. Segun’s genius shone through her works and simplicity. Aderinokun recalled her presence at a book fair, where Mrs. Oluremi Tinubu was captivated by Segun’s personality, warmth and brilliance. He celebrated her as a trailblazer in literature and sports, emphasising her significant contributions to equality and feminism. Both Ifeanyichukwu Avajah, immediate past Chairman of ANA Lagos, and Folu Agoi, former President of PEN Nigeria, joined in lauding Mabel’s role in inspiring African women, honouring her as a literary giant who exemplifies the resilience of the African spirit.