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Tag: National Theatre

  • 2025: When culture worked in harmony with economy

    2025: When culture worked in harmony with economy

    • As National Theatre returns

    Last year’s over-riding theme for the culture sector was: Art–conomy.  True to Type, artists, stakeholders, culture technocrats and so on, worked within the ambiance of this theme.  It was a year when artists keyed into that dream to allow their profession attract dividends to them.  Edozie Udeze takes a retrospective insight into all the programmes that made culture entrepreneurs thrive and smile to the banks.

    The year 2025 was aptly tagged the year of Art-conomy.  And it truly came to pass, well fulfilled.  The year was full of boisterous art and cultural activities, programmes and events that recreated the economy.  From the private sector to the state and federal parastatals and agencies within the armbit of the culture sector, events were purposely created and organized to create jobs, to regenerate arts that encouraged artists to grow in all aspects of their professional endeavour.

    In the beginning, the National Troupe of Nigeria, the Federal government’s apex dance ensemble, organized a five day training for children drummers.  It was five days of intensive training that even traversed drumming into stage, dance, filmmaking, costuming and scripting.  Undertaken by core professionals in the sector, the children who came out beaming with a smiles have since taken drumming as a way of life.  Some of them beat to earn a living.

    Also the National Gallery of Art (NGA), custodians of modern art pieces and relics and properties, finally presented reports of the art inventory which it did in collaboration with Goethe, German Cultural Centre in Nigeria and Julius Berger.  The event showed that over 2,000 art pieces often forgotten by previous administrations have been retrieved and refurbished as national treasures.  The art works were done by both the first generation and subsequent generations of Nigerian art masters.  Today, the works are safe as they have been preserved as some of Nigeria’s richest art pieces ever recorded in history.  Some of the works also generate income, money, for government and for the owners.  Thanks to Ahmed Sodangi, the DG of NGA for his meticulous way of articulating ideas that generate revenue for the sector and for government.

    In the main, some of the federal parastatals and agencies that sidelined paucity of funds kept the sector ever aglow.  While the National Troupe made several trips abroad to represent Nigeria in international cultural and dance festivals, the National Gallery kept the home front alive.  In February, the Gallery put together one of the most classical and colourful exhibitions that showcased love, love across tribes, love across boundaries and across barriers.  It was tagged wealth and lovers’ art.  Artists therefore made financial gains.

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    At the National Museums and Monuments, Onikan, Lagos, some stolen works and artefacts repatriated to Nigeria were officially handed over to Nigeria.  They were showcased as they are said to worth millions of dollars.  Oba of Benin was there, so also were all the top notch of the Federal Ministry of Culture, Art, Tourism and Creative Economy.  The works glittered in their full blooms as they adorned the huge galleries.  The Benin monarch beamed with satisfaction as the works eventually returned to Edo State as part of national collection.

    It was a year of books, books and more books.  Books that x-rayed the nation through thought-provoking narratives.  Sam Omatseye surprised the sector with Juju Eyes.  Juju Eyes is a catchy title and talks to the leadership cadre of the nation.  Juju Eyes punctures the reckless life style of runs girls, politicians and pastors.  The book tour took Omateye to parts of Nigeria to sensitise people about the exigencies of a troubled society now distilled within the bowels of a fictional offering.

    Also Olatunji Ololade bestrode the sector with his book titled, of gods and their clay toys.  In it, you encounter the powerful narrative voice of a Journalist who has vowed to elevate story-telling to a crescendo.  In the book sector, the Nigerian Literature Prize last year seemed to have been exclusively reserved for only Nigerian authors in the Diaspora.  Right from the longlist of eleven to the shortlist, it was their exclusive preserve.  But the truth of the matter is that NLNG presented the highest number of entries last year than the previous years.  This has indeed added unprecedented colours and value to one of worlds highest literary prizes ever.

    The private sector was the one that kept the tempo streaming with total art-conomy.  Art Miabo who invented the title Art-conomy for last year’s art programmes eventually hit the nation with an exhibition with same title.  She came to Nigeria from her base in South Africa.  She came with many foreign artists.  She equally blended with the local ones to have a festival of arts that lasted for five days.  It took place in Victoria Island, where her works also done mainly from discarded objects blended beauty with artistic acumen that for those remarkable days visitors came in from far and near to view and buy.  Art Miabo is a phenomenon when it comes to art.

    Through the intervention of Emmanuel Macron, the French Prime Minister, a group of people with the French Embassy in Nigeria brought global culture to Nigeria.  The result was a week-long international conference held in Victoria Island and titled Cultural and Creative Industries Forum – Forum Creation Africa Lagos.  It brought the world to Nigeria.  And Macron rightly accepted that Nigeria has the largest concentration of cultural properties in Africa to create high level jobs, to renew hopes and to change lots of lives.

    True to type, the conference taught people how to produce world class films, animations, cartoons, scripts and art works.  It also redirected attention to gastronomy and the relevance of music in all spheres of human life.  Afrobeat was taken as an ample example.  Finally, the National Theatre, the Apex Culture House of Nigeria was handed over to government.  The renovations took four years or so to complete.  Today, the edifice stands like a new bride.  The former glitter has come back.  On the day of the reopening, President Bola Ahmed Tinubu described it as the cultural icon and pride of a nation.  The social amenities now function to the fullest.  However, the artists and workers are yet to have access to it.

    The Association of Nigerian Authors (ANA) had as its convention title last year: Nigerian writer and the urgencies of a nation-state.  The theme was adopted to address all the inanities in a state in a quagmire.  The convention held in Abuja was not only heated, it brought into it Africa’s first nobel laureate in literature Professor Wole Soyinka to the writer’s village for the first time.  ANA is consistently progressive, no doubt.  Soyinka’s presence re-ignited the euphoria and the electrifying nature as the gathering suddenly became more accelerated.

    The year ended with variety of stage plays, including Itan, The story by Ayo Jaiyesimi.  There were also musicals, art exhibitions, etc. that saw stakeholders smiling to the banks.  Indeed economy and culture were truly in harmony.

  • National Theatre: Awaiting Tinubu’s directive for reopening

    National Theatre: Awaiting Tinubu’s directive for reopening

    Almost a year after the completion of the National Arts Theatre, the revamped national edifice for culture and creative arts by the Bankers’ Committee, the gates and doors of the facility are yet to be thrown open for use.

    On August 29, 2024, the Bankers’ Committee announced the completion of the renovation and upgrading of the monument situated in the Iganmu area of Lagos.

    The Bankers’ Committee further revealed, in the same year, that the renovation covered different spaces, including the 4,000-seater main bowl, over 3,000-seater banquet hall, exhibition halls, cinemas, VIP spaces, actors’ changing rooms, industrial kitchen, over 300 new toilet cubicles, clinic, fire station, lobbies within the four entrances and extensive roof repairs.

    The renovation of the national landmark commenced in July 2021, following approval by the Federal Government and the subsequent handover of the national edifice to the Bankers’ Committee, and was completed in August 2024.

    Prior to the completion in August 2024, the national edifice was renamed Wole Soyinka Centre for Culture and the Creative Arts by President Bola Ahmed Tinubu. The President renamed the facility in a birthday message to the Nobel laureate who turned 90 on July 13, 2024.

    In the same vein, on March 6, 2025, the Governor of the Central Bank of Nigeria (CBN), Olayemi Cardoso, visited the revamped Wole Soyinka Centre for Culture and the Creative Arts (National Theatre) alongside members of the Bankers’ Committee.

    During his visit, Cardoso noted that the revamped theater represents a significant step towards boosting Nigeria’s creative industry and driving economic growth. He also highlighted the potential of the creative sector, estimating it could generate $25 billion, and emphasized the importance of collective ownership and protection of the revitalized landmark monument.

    Read Also: Making National Theatre workers function again

    Despite the widespread anticipation and numerous projections regarding the reopening of Nigeria’s iconic monument, the official reopening date remains undetermined.

    In a recent finding, sources disclosed that the official reopening of the Wole Soyinka Centre for Culture and the Creative Arts (National Theatre) is pending a formal directive from President Tinubu.

    The revamped facilities inside the monument are ready for use – commercial or corporate. As it stands, access to the premises is currently restricted to only maintenance and security personnel, as the monument still awaits formal commissioning.

    According to sources, high-level stakeholders, including chairmen of the involved financial institutions, have held a series of strategic meetings in preparation for the relaunch, which currently has no fixed date.

    The reopening of the Wole Soyinka Centre for Culture and the Creative Arts (National Theatre) will represent another significant milestone in the nation’s cultural and economic revitalization strategy. The public and stakeholders alike now await the President’s official announcement for commissioning.

  • Making National Theatre workers function again

    Making National Theatre workers function again

    It is pathetic that workers of National Theatre and National Troupe of Nigeria now operate from under trees.  This ugly situation has been on for more years than can be tolerated due to the renovations at the Theatre.  Now that renovations are over and workers still loiter and operate from under trees, what is really the problem? Edozie Udeze takes a look at the situation in this report.

    The protest by the workers of the National Theatre and National Troupe of Nigeria which took place last week in Lagos was long in coming.  For those who are familiar with developments at the National Theatre, it is obvious that the workers have been pushed to the wall for far too long. For about four years now, the renovations at the Theatre have been going on.  The initial understanding before the rehabilitation commenced was that the workers would be asked to return to their offices as soon as the renovations were over.

    However, many years after, these workers are still like destitute.  They report for duty every day only to be hanging under trees and shrubs as if those that matter do not bother at all. Now the works at the Theatre, both inside and outside have been completed, yet these workers, both senior and junior workers are still left to loiter around the Theatre premises day in day out.  The question is: how do workers produce or even become active operating from under trees?  This is what triggered the protest which took place last week when the Unions to which Theatre workers belong converged to let the world see, feel and know about the agony, disgrace and dislocation they have been passing through in the past four years or so.

    The Unions are Radio, Television and Theatre Art Workers Union (RATTAWU) and Amalgamated Union of Public Corporation, Service, Technical and Recreation Employees (AUPCTRE) who were joined by the Nigerian Labour Congress (NLC), and all the Lagos based stations of Nigerian Radio Corporation, Nigerian Television Authority, in addition to all the parastatals, agencies and departments that constitute the Federal Ministry of Art, Culture, Creative Economy and Tourism as well as those in the Ministry of Information and National Orientation.

    In attendance were representatives of the theatre and film sectors in Nigeria.  The atmosphere was tense. There was anger on the faces of many. As solidarity songs went on, many workers kept gloomy faces.  Most of them who spoke off record were afraid that the powers that be may end up appropriating the spaces inside the Theatre. This seems so because since last year when the works were completed and the Nigerian Labour Congress leadership confronted the management over the return to status quo, the management has since refused to give any positive responses or assurances.  It seems to the workers that a lugubrious situation is in the offing.  As perturbed as the workers have become, therefore, the fear of not returning back to continue to present, promote and preserve Nigeria’s numerous cultural heritages may be an utopian dream.  This fear is written on the faces of workers and they’re going about with it as they sit or walk around the Theatre every day.

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    As they sit daily in clusters and groups under the trees and sometimes in the scorching sun, it is clear that disillusionment has begun to set in.  The newly renovated Abeigi has suddenly become the abode of some workers. As they sit in groups staring at the imposing and inviting structures that is the National Theatre, they hiss, they groan, they gnash their teeth, wondering when they will return back home. The joys in their faces have long disappeared. Even the small cubicles provided as makeshift offices are choking. Some of the workers in the ranks of assistant directors, deputies or more, also find solace within this ugly and pathetic  under the tree development.

    It is indeed true to say that unless the needful is done now, the flavor of the Theatre will soon become a forlorn hope.  The gloomy appearances of workers need to be curtailed. No one ever works within the confines of depression and achieve a desirable result.  The situation within the premises of National Troupe is even worst. Ever since its workers have been moved to the abandoned artistes hostels, a place that is still dilapidated, not even fit for human habitation. The artistes’ hostels were abandoned for over decades, turning it to a place where rats, rodents, snakes and some other dangerous reptiles have since found solace.  Now, after making a few minor retouches here and there, the workers were moved into the place.  The idea was that the renovations of the main offices would not last too long.  Now, the workers are also groaning.

    The eyesore at the artistes’ hostels, the makeshift homes of the workers of National Troupe of Nigeria brings tears to the eyes of those who feel for others. In as much as the present management has tried to give a little life to the place, the environment is still far from being a place suitable for workers who are cultural ambassadors of Nigeria.

    All these and more are some of the psychological traumas that haunt workers all year round.  So, the Federal Government has to call those responsible to order.  The Theatre is not meant to be an elitist hub.  It is a place deliberately meant to cater for all the creative people, where theatre is produced and presented. 

    It is a place where culture is meant to live, where theatre has to breathe and prosper, ensuring that practitioners as well as those who ply their trade there are allowed to be. It is a place to bring theatre together to blossom, to promote all the issues that make Nigerian theatre prosper.  Theatre and culture cohabite at the National Theatre and that is why it is called the Apex Culture House of Nigeria. It is where stage theatre is alive, where everything culture is permitted to operate without let or hindrance.

  • Unions demand reopening of National Theatre

    Unions demand reopening of National Theatre

    The  Amalgamated Union of Public Corporation, Civil Service Technical and Recreational Employees (AUPCTRE) and the Radio, Television, Theatre and Arts Workers Union (RATTAWU) under the aegis of the Joint Union Congress, have decried the denial of National Theatre workers’ return to their offices at the National Theatre Complex in Lagos.

    They frowned at the deplorable conditions under which workers have laboured for over five years, working under trees despite assurances of relocation within 18 months after renovation.

    In a statement read by Comrade Bisi Idowu, Lagos State Vice Chairman of the Nigeria Labour Congress (NLC), the unions sought an  end to the inhumane working conditions they have been subjected to for over five years.

    They traced the struggle in the creative and arts industry, with particular interest in the National Theatre icon in Lagos, to October 2024, when efforts intensified with a visit to the General Manager and CEO of the National Theatre.

    However, the unions reported a “negative result,” citing “deliberate negative efforts” by management to thwart relocation plans.

    The unions recalled a speech by the then-Minister of Information, Culture, and Tourism, Alhaji Lai Mohammed, on July 20, 2020, which promised that the National Theatre, a national heritage, would not be ceded to any individual or group.

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    They quoted him as saying renovations costing N25 billion  would restore its glory, adding that no jobs would be lost and workers would return to their offices within 18 months.

    According to them, despite the renovation, five years later, the workers remain stranded under trees, with the complex still locked.

    Chairperson of the Federal Organ of AUPCTRE, Lagos, Comr. Olatunji Omodolapo said : “All workers in Nigeria deserve a conducive and humane environment. The National Theatre workers should be treated with dignity and moved back to this edifice. This is the Federal Republic of Nigeria, not a Banana Republic.”

    He appealed to President Bola Tinubuto intervene urgently.

    Referencing Decree 47 of October 29, 1991, which established the National Theatre and National Troupe as government agencies to promote and preserve cultural heritage, they argued that the current situation undermines this mandate.

    State Secretary of AUPCTRE, Comr. Babatunde Omotola said: “For five solid years, workers have generated revenue for this country under trees. In a befitting environment, they could contribute even more.”

    He accused the government of treating staff “like slaves” and warned of a hidden agenda, possibly involving ceding the complex to private entities—a move the unions vowed to resist.

    Comr. Bimbola Oloyeye, Acting State Secretary of RATTAWU, Lagos State Council said the unions won’t allow the complex to be privatised like the old National Electric Power Authority(NEPA).

    To underscore their demands, the unions staged a protest march around the National Theatre Complex, drawing attention to the stark reality of their exclusion.

    They called on the Minister of Information and Creative Economy, Hannatu Musawa, and the Federal Government to act immediately, warning that the delay has cost billions of naira in lost revenue.

  • National Theatre workers protest unfair treatment

    National Theatre workers protest unfair treatment

    The need to return the National Theatre to its original status quo since the conclusion of its renovations was the reason its workers embarked on a protest during the week.

    The protest, which took place within the premises of the Theatre was attended by representatives of the Nigerian Labour Congress, all the agencies and parastatals in the Federal Ministries of Art, Culture, Art Economy and Tourism as well as Information including the News Agency of Nigeria, APCON, Voice of Nigeria and all the stations of Nigerian Television Authority and Radio Nigeria within Lagos.

    The protest was to notify the Federal Government of the need to restore the position of the Theatre, by allowing workers to return to their offices since the renovations have been concluded many months ago.

    Speaking on behalf of all affiliate unions which included Radio, Television and Theatre Arts Workers Union (RATTAWU) and Amalgamated Union of Public Corporation Service Technical and Recreation Employees (ACPCTRE), Bisi Idowu Oladipupo, who stood in for the NLC, said, “Our struggle to return the workers of National Theatre back to their various offices and take them off under trees, started in October 2024.

    “On that day the Union paid a visit to this edifice and to the General Manager to intimate them of the need to return to status quo”.

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    Oladipupo made it clear that those who did not want to return the edifice to its original position are happy to see workers hanging and loitering about each time they report for duty.

    He noted that up till the present moment, the management of the Theatre has refused to heed advice that will make workers have a sense of duty when they report for work.

    Oladipupo, who frowned at this kind of treatment, noted that the NLC and other affiliate Unions had discussed the relocation of workers and other issues with the management but the result is still negative.

    It is for this reason and more that the NLC leadership and other Unions have chosen to organise this protest, to give the theatre management more time to do the needful, failing which there will be a total shutdown of the Theatre.

    Since the Theatre was established to promote, present and preserve Nigeria’s numerous cultural properties, it is time to allow workers have unhindered access to their offices since renovations are over.

  • National Theatre opens economy to $25b FX inflows from creative sector

    National Theatre opens economy to $25b FX inflows from creative sector

    The renovation of the National Arts Theatre (Soyinka Theatre), now at its final phase of completion presents great opportunities for over $25 billion forex inflows to the economy through the creative sector. The project championed by the Central Bank of Nigeria (CBN) in collaboration with the Bankers’ Committee opens new opportunities for financial institutions to invest and support the Federal Government’s vision of a $1 trillion economy, reports Ibrahim Apekhade Yusuf

    The Nigeria forex market will experience a new boom with the near remodeling of the N21.3 billion National Arts Theatre (Soyinka Theatre) project by the combined efforts of the Central Bank of Nigeria (CBN) and the Bankers’ Committee.

    The Central Bank of Nigeria (CBN) Governor, Olayemi Cardoso said the Nigeria creative industry has potential to generate $25 billion, with the remodeling of the National Arts Theatre.

    He spoke when he, alongside members of the Bankers’ Committee toured the facility in Iganmu, Lagos.

    He said: “It is estimated that the creative sector can potentially generate about $25 billion. This, to my mind, will be a great catalyst for that to happen. So, is the prosperity of not just the creative sector, but for all Nigerians. It will serve as a very powerful signal to the potentials for collaboration. Once something like this is successful, others will take a cue, and it will speak for itself”.

    The Memorandum of Understanding (MoU) for the handing over of the National Arts Theatre to the Bankers’ Committee by the Federal Government was signed in February 2021, and had initial completion timeline of 15 months, and estimated cost of N21.3 billion

    Themed the ‘Lagos Creative and Entertainment Centre’, the project is expected to restore the glory of an iconic building by aligning most of the fabric and equipment and facilities in the building with the aesthetics of the 21st century.

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    Cardoso commended the work done and the vision that has repositioned the Theatre to a world class status.

    He said: “Well, firstly, it is highly commendable what we are seeing here today. One has to commend the vision and resources of the Bankers’ Committee for doing this. It has been a long, hard road, and if it was not for the belief and the commitment of those sponsors, this would never be realised.”

    He explained that it would have been a great disservice to the country if this was not achieved, because embedded in the theatre is a lot of the history and culture of the Nigerian people.

    He said the Bankers’ Committee had a vision, and were determined to surmount all the obstacles in getting the theatre to where it is today.

    “For me as a Lagosian, I grew up here, and saw this in 1977 when we had FESTAC and subsequent times, we used to come here to have different events and activities and we were very proud of what we had as Lagosians. Sadly, the edifice, which was iconic at a time, fell into a state of abandonment,” he said.

    “So, to have been able to live today, to see this massive transformation to a world class structure is again a testimony to the Nigerian spirit. For those who are going to be using the edifice and those whom it is home to their profession, it is a giant step forward. It is something that we all as Nigerians should be extremely proud of,” he added.

    He said the difficult work on the theatre has already been done, adding that not just the Bankers’ Committee, but all Nigerians should take pride in defending the Theatre.

    “This is a very, very, very major reflection. And when you go around and you see, and some of you have toured already, you will see that a lot of our culture is embedded in the structures here. So, it is beyond just an edifice. It is what it represents.”

    “Going forward, I am very certain that the partnership that has taken place between the private sector and public sector that has resulted in this spirit, in conjunction with the Nigerian people, will take us to the next level,” he said.

    The Bankers’ Committee also funded the prototype cluster located to the north of the National Arts Theatre, labelled the “Signature Cluster” consisting of a building each for Music, Film, Fashion and Information Technology verticals.

    The main contractor for the project is Cappa & D’Alberto Limited while the  Electrical Sub Contractor is being handled by Nairda Limited, and VACC Limited is in charge of the Mechanical Sub Contractor.

    The aim is to deliver a successful Creative and Entertainment city that will encourage additional investment into Nigeria’s creative industry.

    According to the Bankers’ Committee, a portion of the site was earmarked for the construction of the “Signature Cluster”, which consists of one building each for Fashion, Music, Film and IT.

    The committee said each structure was uniquely designed to function independently, yet providing the opportunity for extensive collaborations between the different creative communities.

    The 44-hectare site adjourning the National Theatre will be developed and utilised for the development of purpose-built creative hubs for the Fashion Industry, Music and Film as well as Information Technology (IT).

    The Bankers Committee said the project will deliver a successful Creative and Entertainment city that will encourage additional investment into Nigeria’s creative industry.

    X-raying the National Arts Theatre

    The National Arts Theatre, built approximately 48 years ago, stands as one of Nigeria’s most iconic landmarks.

    Analysts believe the project will open financing opportunities for commercial banks when activities fully commence after the renovation.

    On October 5, 2019, President Muhammadu Buhari approved the reconstruction of the National Theatre in Iganmu, Lagos, into a world-class convention center for the development of the creative sector in diverse areas, including entertainment, movies, music, fashion, and Information and Communication Technology (ICT).

    As the initial investment in the creative industry, the government expects to create at least 1 million jobs when the project begins operations.

    In 2022, the CBN and the Bankers’ Committee collectively agreed to invest over N65 billion to rehabilitate the National Arts Theatre and restore it to its former glory. This effort has been carried out in collaboration with the Federal Ministry of Information and Culture (FMIC), the Ministry of Youth and Sports Development, and the Lagos State Government.

    Ayokunle Olubunmi, head of financial institution ratings at Agusto & Co. said banks have the opportunity to finance activities at the National Theatre but that depends on how it is managed. He said there would be a lot of activities such as cultural, training schools, events, and skill development, among other activities that will require banks involvement.

    “The banking industry is now open to creative minds ready to explore untapped areas in the economy,” said Uche Olowu, former president and chairman of the council at the Chartered Institute of Bankers of Nigeria (CIBN), recently.

    Several Nigerian banks have introduced initiatives to support the creative sector, recognising its potential for economic growth and job creation. Through its Creative Industry Financing Initiative, GTBank offers loans of up to N500 million to entrepreneurs in fashion, music, movie production, and information technology.

    As part of the Central Bank of Nigeria’s initiative, Access Bank provides the Creative Sector Loan, which focuses on capacity building and employment creation for individuals and businesses in sectors such as fashion, information technology, movie production and distribution, music, and software engineering.

    As of 2022, significant progress had been made in the renovation, including the installation of new service routes, remodeled interior spaces, nearly 300 units of conveniences, and a 3,000-square-metre roof terrace, which had been a major source of leakages. Floors, walls, panels, and ceilings had been stripped back to ensure that all underlying structures support new finishes.

    The renovated theatre now offers a 4,000-seater main bowl with new stage infrastructure featuring future-fit performing arts spaces for dance, theatre, music, and multimedia. The acoustics and technical systems have been upgraded to accommodate the requirements of audiences, artists, and sponsors. Additionally, the banquet halls, exhibition spaces, and two 500-seater cinemas have been fully refurbished.

    How it all started/ project phases

    The National Arts Theatre was completed in 1976 by the Olusegun Obasanjo military administration to host the largest the Second World Black and African Festival of Arts and Culture (FESTAC 77) in January 1977.

    It subsequently hosted some of the biggest and best musical artistes from across the world. The stages were once the venue for world acclaimed theatre plays and dramas. In 1977, Stevie Wonder received his Grammy Award via satellite hook-up on the stage of the National Arts Theatre!

    Today, the National edifice lies in Iganmu, wasting away from decades of neglect. It is indeed very embarrassing that Nigeria; Africa’s largest economy, is no longer considered as the destination of choice for the various important entertainments, events and concerts being hosted in Africa, instead, countries such as Rwanda (Kigali Arena- the largest indoor arena in East Africa) and Ghana are usually the preferred.

    The time is right to bring our National monument, our National Heritage back to life. It is time to wake up and showcase our National Pride yet again after decades of neglect. To this end the Bankers’ Committee decided to fund the Restoration the National Arts Theatre to its iconic glory therefore repositioning Nigeria in its rightful place as far as Arts, culture and creative Industry is concerned. This is a Private-Public partnership between the Bankers’ committee and the Federal Government and Lagos State Government. In addition to this, a creative centre consisting of four Hubs is being built on the expanse of land around the National Theatre building.

    The Lagos Creative and Entertainment Centre is an initiative of the Bankers’ Committee aimed at enabling the creative and IT sectors in the areas of job creation, capacity building and foreign exchange revenue generation. The National Theatre complex was identified as a viable location for the proposed city and is to house the Fashion, Music, Movies and IT Hubs.

    The Master Plan implementation consists of the development of the Signature Cluster, which consists of a building each for Fashion, Music, Film and IT to be built alongside support facilities including multi-storey parking to accommodate an additional 500 cars (the National Theatre currently has dedicated parking for 250 cars), a police station, a fire station and a visitors’ Welcome Centre which will house commercial and retail facilities, administration and management offices amongst others.

    According to the project managers, both phases will be connected by carefully curated soft and hard landscape areas as well as waterways, providing excellent semi and outdoor spaces for community use and entertainment, including an amphitheatre.

    Lagos State government is an important partner in this endeavour. The state has committed to addressing the current water ponding and related environmental issues around the National Theatre and will work assiduously towards the completion of the light rail line which will serve the National Theatre and its environs, providing many more people quick and effective access to the facilities.

    Having addressed the environmental challenges, new infrastructure (roads and services mains) will be installed, and the existing ones will be upgraded as part of the project scope. Bear in mind that there have been limited expansions to the infrastructure in over 45 years.

    These projects will bring about huge benefits to all Nigerians alike, especially the youths who have shown more interest in the IT, Fashion and Entertainment creative industry.

  • National Theatre: Firm awarded N19.4b for contract breach

    National Theatre: Firm awarded N19.4b for contract breach

    Arbitration Tribunal in Lagos has ordered SANEF Creatives Limited, owned by Bankers’ Committee of Central Bank of Nigeria (CBN) to pay N19.4 billion to Hanson Dredging and Marine Service Limited (HDMS).

    The payment is for the unlawful termination of its contract for dredging and reclamation work at Lagos Creative Entertainment Centre (LCEC), known as National Theatre.

    Sole Arbitrator, Ayo Fanimokun, gave the order on December 30 in his final arbitral award in the dispute between HDMS and SANEF Creatives.

    SANEF is a special-purpose vehicle of Bankers’ Committee comprising CBN and banks.

    HDMS took SANEF before Council for Regulation of Engineering in Nigeria (COREN) Arbitration Tribunal in 2023 after its contract was unlawfully terminated in May 2022.

    In its claims through Dr. Charles Mekwunye (SAN), HDMS averred that having signed the contract for dredging and reclamation of LCEC with SANEF on November 11, 2021, it mobilised to site.

    It claimed to have completed over 60 per cent of the job when SANEF cancelled the contract on the grounds that the 36-week completion date stated in the contract terms had elapsed.

    The firm said some unanticipated risk factors and the prevailing economic situation in the country compounded by  COVID-19 delayed execution of the contract, and it requested review of the contract sum.

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    It said instead of conceding to its request, SANEF unlawfully terminated the contract and the CBN interfered by directly debitting the full amount of N4.2 billion made to HDMS.

    Among the 13 reliefs sought by HDMS include a declaration that the purported termination of the contract for the dredging and reclamation for LCEC was unlawful, premature and against the spirit and letters of the contract documents executed by the parties.

    HDMS also sought a declaration that SANEF Creatives  having wilfully elected not to insist on the time frame stipulated for  completion of the first phase of the contract in 12 weeks after advance payment as a clear indication that it realised that there are obvious challenges that delayed the project, is therefore estopped from subsequently terminating the contract prematurely while citing time provision in the contract.

    The firm also sought a declaration that the decision of SANEF Creatives acting through CBN to withdraw the N4.2billion advance payment for the project was unlawful and further order directing SANEF to pay it, N35billion and N9.1billion as general and special damages respectfully for the unlawful termination of the contract.

    SANEF through its team of lawyers led by former Nigerian Bar Association (NBA) President, Mr Paul Usoro (SAN), in its response insisted that its decision to terminate the contract was lawful and made N70billion counterclaim against HDMS for the alleged losses it suffered following the breach of the contract and HDMS’s refusal to remove its equipment from National Theatre ground to enable the execution of a landscaping contract with another company.

    Delivering a verdict on the dispute after eight sittings and tendering of about 46 exhibits, with two expert witness testimonies, Engr Fanimokun raised six issues for determination and resolved five in favour of HDMS award against SANEF.

    On the issue of whether SANEF can insist on time being the essence of the contract in view of its conduct and condoning action before and after its purported termination letter dated May 26, 2023, Engr Fanimokun held that SANEF’s failure to terminate the contract on the actual due date of February 11, 2022, was a clear waiver of its right to insist that time was of the essence.

    He held: “The Articles of Agreement on the Dredging and Reclamation Works did stipulate in Clause 8(ii) that ‘Time shall be of the essence to this contract’. Clause 3 required the Claimant to execute the said works within a period of 36 weeks (with Phase 2A not exceeding a total of 12 weeks).

    “The advance payment was made on November 19, 2021, and the Claimant would have been expected to conclude the execution and delivery of Phase 2A by February 11, 2022.

    “The Claimant did not conclude Phase 2A of the Contract as of this date and the Respondent did not issue Notice of Default or Notice of Termination in accordance to the Contract.

    “But, on May 11, 2022, the Respondent issued a Notice of Default in the terms of Clause 12.1 of the Contract to the Claimant and demanded immediate remediation from the Claimant within 14 days from the date of this letter of May 11, 2022. Respondent’s letter of May 26, 2022, to the Claimant subsequently terminated the Contract.

    “….. From the foregoing, if time was strictly of the essence of the Contract as Claimed by the Respondent, then the Respondent’s failure to terminate the Contract on February 11, 2022, was a breach of Clause 8(ii) by the Respondent, but also a waiver of the Respondent’s right to insist that time was of the essence.”

    Referring to the General Conditions of the contract which took cognisance of risks, exceptional events, variations and extension of time as expressed in Clause 6, 13, 13.4, 10 and 7.3, Fanimokun held: “The Claimant was delayed in the completion of the Works through the Risks factors that arose during the execution of the Contract and which are known to the Respondent through the Agents/Consultants/Engineers who were on Site at all material times with the Contractor.

    “Significant in these factors are the Covid-19 pandemic and the re-routing of the pipes four times which is as a result of the erroneous initial Site route given by the Respondent about the SIFAX route. Also, Community compensation/relocation issues and various approval delays with stop work orders given by the Government Agencies cannot be discounted.

    “The Respondent rightly stated that the Claimant never applied for an extension of time, but the report of its agent on March 25, 2022 — Exhibit D8 clearly tabulated an extended timeline for the completion of the Contract. A new Work programme was agreed upon by the Parties at a meeting held on  April 1, 2022 at Access Bank and hosted by a Director of the Respondent.

    “The provisions for Risks, Exceptional Events and Variation in the FIDIC Blue Book have made time to be of no more essence once these events occur. The Respondent kept their Agents/Consultants/Supervisors on Site to continue to supervise the Claimant’s works till November 15, 2022, that is even after the termination of the Contract on May 26, 2022, for a Contract that should have been completed on February 11, 2022.

    “The Courts have held that where time is of the essence and the Respondent has compromised the time element by not terminating the contract at the alleged agreed time, it is a waiver.”

    Having held that time was no longer of the essence in the contract since it was deemed waived by SANEF, the Tribunal declared the termination of the contract solely on that ground as premature and unlawful.

    The Tribunal also faulted the abuse of power by the CBN under its former governor, Godwin Emefiele in interfering with the contract by unlawfully recalling the advance payment made to HDMS by SANEF in the custody of Globus Bank.

    “The CBN interfered with the Contract by debiting the account of Globus Bank Limited with the total amount of the APG,N4,228,530,000:00 only on August 8, 2022 which caused the Bank to debit same amount into the Claimant’s account making it liable to the full sum of the APG.

    “The Respondent definitely abused its relationship with the CBN to have resulted to this action, without minding the level of work already executed by the Claimant and against the express provisions of the APG. This is unlawful and gross abuse of power,” it held.

    The Tribunal went on to award special and general damages of N9.1billion and N5billion respectfully against SANEF in favour of HDMS for damages it suffered as a result of the contract termination.

    On whether HDMS was entilted to the value of the over 60 per cent job it had already done assessed as N5.33billion, the Tribunal held: “The Claimant, having already executed and or completed the contract job to over 60 per cent stage as at the time the Respondent unlawfully terminated the Parties’ Contract by the forceful collection of the APG sum through the CBN, and ordered the Claimant to demobilise out the Site.

    “The Claimant is entitled to be paid by the Respondent for all the unpaid balance of the value of the work already executed by the Claimant pursuant to Clause 12.4 of the Parties’ Dredging Agreement accessed at the total sum of N5,331,532,738,13 plus accruing interest, and this Tribunal so hold.”

    In its final conclusion, the Tribunal held that HDMS was able to prove the existence of facts to warrant the grant of the reliefs sought and granting HDMS N19.4 billion and 25 per cent interest per annum from the date of the arbitral award.

  • Now that National Theatre has been revamped

    Now that National Theatre has been revamped

    • By Olutayo Irantiola

    Sir: With the recent revamp of the National Theatre by a special purpose vehicle of the Bankers’ Committee and the Central Bank of Nigeria, the edifice is back in the spotlight making it a sight to behold.

    When the project began in April 2022, the estimated cost for the revamp was N21 billion. The Bankers’ Committee had explained that the revamping of the theatre was necessary considering that Nigeria has the potential to earn over $20 billion annually from the creative industry. It is projected that the National Theatre will be able to support skills acquisition and job creation for over one million Nigerians over the next five years.

    The images showing the completion of the national monument is a resounding revelation of Nigeria’s readiness host any global event within the creative industry.  The upgrade includes replacement of the entire Heating, Ventilation and Air Conditioning (HVAC) system, fire safety standards, power and the replacement of the water supply and sewage systems. The interior designs were not left out with the installation of Audio Video Lighting (AVL), world stage engineering system, 17 passenger lifts, solar power, new furniture for spaces and restoration of artworks including those on the internal wall panels and the building façade. At best, it could be described as a rebirth!

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    I believe that the journey of the creative sector should go beyond the National Theatre to cascade into the various states to orchestrate a national revival of the creative sector. In recent years, cultural centres that should showcase the arts of various states have gone moribund. Asides from the spaces in the tertiary institutions of learning and premium theatre locations run by deep pocket art connoisseurs, many people within the arts community are struggling to survive.

    For the creative sector to survive, we need investors that will enjoy some benefits akin to the federal government Roads Infrastructure Tax Credit policy and for the state government to also come up with modalities of engaging investors for the creative sector. Let the various regions in the state have art spaces, just like Lagos State did during the administration of Governor Akinwumi Ambode.

    The state governments need to task the tourism, arts and culture team on the number of performances and festivals that they must come up with annually. There are a lot of people and creative organisations seeking for partners to tell their stories and it is important for state governments to be involved in all these well-curated events. This will also challenge the civil servants and make them know that they must justify their earnings.

    To strengthen the creative economy of Nigeria, there is a need to return to our national and state monuments and facilities. If arts must thrive, it has to be Public-Private Partnership (PPP) driven and we must all patronize these venues.

     •Olutayo Irantiola,

    abolz2001@yahoo.com

  • National Theatre will have global standard, says Sterling Bank boss Suleiman

    National Theatre will have global standard, says Sterling Bank boss Suleiman

    The Managing Director of Sterling Bank Plc, Mr. Abubakar Suleiman, has assured Nigerians that the Bankers’ Committee will bring the National Theatre Iganmu at Iganmu in Lagos (now Wole Soyinka Centre of Creative Arts) back to world class standard.

    Suleiman described the edifice as one of the most complex and successful projects embarked by the committee.

    He said the ongoing renovation of the 47-year- old edifice is an incredible accomplishment that the collaboration between the government and Bankers’ Committee has had since July 2021.

    In 2021, the Central Bank of Nigeria (CBN) lent its support for $100 million provided by the Bankers’ Committee to revamp the National Arts Theatre.

    Suleman, who spoke yesterday while touring the complex with some editors, said: “The National Theatre, which represents one of our highest points in terms of ambition, was in the state of disrepair. We are committed to bring it back to world-class standards. This would arguably be one of the most complex and most successful projects of that nature. This is putting culture back on the map in a big way.

    “It’s not just the theatre; this is one of the biggest and most complex event centres you can have in this country. We will bring it to the public very soon.”

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    The bank chief explained that the interest of the Bankers’ Committee was not about making money but to salvage a national monument that had been in a state of disrepair for decades.

    “When we approached government for this opportunity, we had no idea how we were going to make money. It wasn’t about making money. This was about a national monument that had been left abandoned, and we thought anything and everything that needed to be done should be done to restore this to its glory.

    “We were shocked at the scale of the work that needed to be done, but we were also impressed by the possibility that it represented. As you’ve seen, this is one of the largest-scale projects of this type anywhere on the continent. The standard to which it has been restored is global,” he added.

    On how the facility would be maintained after the completion of the ongoing renovation, restoration and refurbishment, Suleiman said it would not be managed by either government or the Bankers’ Committee.

    The banker assured fellow Nigerians that it would be managed professionally.

    He affirmed that such an option was considered in the process and was not an afterthought.

    “We imagined what it would be like to manage a project like this and we have lined up partners that will ensure this is run to an international standard,” Suleiman said.

    The architect in charge of the project, Mr. Ade Laoye of ECAD Architects, said the project had reached 95 per cent completion.

  • National Theatre hosts training courses for industry professionals

    National Theatre hosts training courses for industry professionals

    THE National Theatre has hosted several theatre practitioners in a series of training sessions. 

    The training started on Monday and extended throughout the week.    

    Hosted at the Alliance Francais, a partner with the National Theatre on this project, the first training session was a Project Management Workshop.

    Speaking at the opening of the first session, GM/CEO, National Theatre, Tola Akerele, said that the training was a first in a series of trainings for industry professionals.   

    She said that the National Theatre is looking to collaborate with the industry, find out what they need and provide solutions.

      “Skills training is one of the important agendas of the Federal Ministry of Art, Culture and The Creative Economy and I am delighted that the National Theatre was able to host this workshop and courses.

    ” I believe they are essential for equipping our theatre practitioners with the skills they need to thrive in the creative industry. I eagerly look forward to many more such initiatives in the future,” she said.

    She welcomed the participants and acknowledged the opportunity the training presented to improve their practice.

     The Project Management course was facilitated by Dr. Lessi Patrick, an award-winning theatre professional with a demonstrated record of working in academia, practice and management.

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     A certified Project Management professional with cumulative experience of over two decades, she taught on how to use project management processes to deliver better theatre productions.

    The second course, “Introduction to playwriting” started on Thursday. The course was facilitated by Shola Asante, a UK-based Journalist, fiction writer and playwright. 

    She brought her vast experience working in organizations such as the BBC, Sky News and CNBC to teach the participants of the training.

    Speaking at the training, Akerele urged participation and collaboration from industry stakeholders, promising that the new era of the National Theatre will provide opportunities for theatre practitioners. 

    One of such opportunities is the “Storytelling for Impact” class which holds on Saturday, 24th of August at the Alliance Francais. 

    The workshop will be facilitated by Anna Ostergren, a theatre director with experience working with companies ranging from National Theatre London, Netflix, London Business School and Bloomberg. The workshop will start by 10am and is open to the public.