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Tag: Terra Kulture

  • Nigerian Breweries, Terra Kulture partner to celebrate women resilience

    Nigerian Breweries, Terra Kulture partner to celebrate women resilience

    Nigerian Breweries Plc has hosted industry leaders, partners, creatives, and cultural stakeholders to an inspiring and thought-provoking theatre experience tagged An Evening with Thibaut Boidin, featuring the premiere of the new stage play Dear Kaffy – The Diary of a Single Woman in Nigeria, held recently at the Terra Kulture, Lagos.

    The play, written and directed by Bolanle Austin-Peters, Managing Director Terra Kulture, presents a multi-layered narrative that interrogates identity, womanhood, resilience, and the often-ignored struggles faced by women who are judged by societal marital timelines rather than personal fulfillment.

    Managing Director, Nigerian Breweries Plc, Thibaut Boidin highlighted the significance of hosting the evening in a theatre, noting that the initiative mirrors the ecosystem within which the company operates, where collaboration, discipline, and creativity come together to create shared meaning.

    “Art is one of the most powerful forms of communication because it transcends boundaries and speaks directly to the soul. As we enter the festive season, we wanted to connect differently – with heart, with culture, and with the creativity that makes Nigeria so special. I hope tonight touched you the way Nigeria has touched me in my first five months here,” he said.

    Austin-Peters expressed profound gratitude to Nigerian Breweries for their unwavering support of the arts, noting that their partnership has sustained and expanded the creative economy for over two decades.

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    She stressed that the company’s immeasurable contribution to culture has helped elevate Nigerian theatre to international stages, from London to Egypt, enabling thousands of young people to build sustainable creative careers.

    “I am deeply grateful to Nigerian Breweries and Amstel Malta for their unwavering support over the years. Their commitment to the arts has enabled thousands of young creatives to find their voice and build sustainable careers. This partnership continues to remind us that when organisations invest in culture and storytelling, they invest in the soul of a nation. For us at Terra Kulture, Dear Kaffy is more than a stage play; it is a bold reflection of the silent struggles, resilience, and emotional journeys that many women face in our society. We wanted to tell a story that is honest, relatable, and empowering, especially for women who are constantly judged by timelines that are not their own,” she added.

    The event brought together an ensemble cast in a production that explores the realities, stereotypes, and emotional journey of unmarried women navigating societal pressures in contemporary Nigeria.

  • House of Naira reimagines Nigeria’s identity at Terra Kulture

    House of Naira reimagines Nigeria’s identity at Terra Kulture

    After a few years of delay, a new voice has emerged from the African theatrical landscape, with House of Naira, a stunning original musical from Nigerian playwright and creator Kehinde Oretimehin, reimagining Nigeria’s identity at Terra Kulture, on Victoria Island on Saturday.

    Created by Kehinde Oretimehin, an acclaimed Nigerian musician, director, and composer whose works explore the intersections of culture, identity, and justice, the 6-man musical is directed by Tosin Adeyemi.

    In a chat with Arts Writers in Lagos at the weekend, Oretimehin said that the growth of the creative industry lies in collaborations between different key players. He noted that given the huge capital involvement in production of quality work of arts, partnership between stakeholders will reduce the burden.   

    House of Naira is a powerful and thought-provoking musical that tells the story of Nigeria’s rich cultural heritage and its complex but beautiful geopolitical landscape, languages, tribes/cultures, and ways of life. The play features a talented cast of six (Triple-Threat) actors with extraordinary singing voices and stylised dancing feet, who are very famous on the Nigerian theatre stage and will bring to life the vibrant characters and stories that shape Nigeria’s identity.

    The musical features a dynamic blend of beautiful and enchanting original traditional Nigerian songs in different languages, tonality, colours, tessituras, rhythms, timbres, dynamics, articulations, and harmonic structures. It includes some western Broadway and West End standards in delivery blended with the Nigerian Highlife, Afro-Pop, Afrobeat, and contemporary styles, showcasing the country’s rich musical heritage. The cast will perform expressive and mesmerising dance routines, heartwarming body movements, and poignant spoken word pieces, ensuring an engaging and immersive experience for the audience.

    With its rich symbolism, electrifying music, and a cast of acclaimed global actors, the production tells a provocative yet ultimately redemptive story about unity, power, and the cost of division— all set in the metaphorical house of Nigeria.

    The musical centres on a patriarch who, influenced by his mother’s traditionalist beliefs, marries four women, each from one of Nigeria’s major ethnic groups: Hausa, Igbo, Yoruba, and South-South. As love turns to rivalry, the household becomes a battlefield of competing identities, grievances, and emotional warfare. The man, symbolic of Nigeria itself, appears to succumb to the weight of it all, dying amid the chaos his home has become.

    But House of Naira refuses to end in tragedy. In a dramatic final act, the man is revealed to be alive — his staged death an elaborate intervention designed to jolt his wives into confronting their differences. Faced with the possibility of losing their shared future — their inheritance, their legacy, their identity — the women come to a powerful realisation that unity is their only path forward.

    What follows is a moment of transformation. The wives, once divided by language, pride, and pain, pledge to work together in tolerance and solidarity. It is a hopeful, poetic resolution that mirrors the dream of a truly united Nigeria, forged not by force but by understanding and interdependence.

    “This story is Nigeria,” said Oretimehin. “It’s raw, painful, beautiful — but also resilient. It asks what happens when we finally see beyond our own tribe, our own struggle, and realise we’re stronger together. It’s not just about one nation. It’s about any society wrestling with its identity,” he added.

    The music of House of Naira is as diverse and resonant as the story itself, blending Afrobeat, Highlife, tribal percussion, choral traditions, and contemporary theatre scores. Audiences will be moved by its emotional depth, cultural richness, and moments of sheer theatrical spectacle — all guided by a world-class production team.

    Elevating the show further is its extraordinary ensemble cast — international stage and screen veterans with over two decades of experience performing across Nigeria, the UK, the US, and South Africa. Their commanding performances bring authenticity, gravitas, and global relevance to a deeply local story.

    Following its premiere at Terra Kulture on Victoria Island, Lagos on Saturday and Sunday May 17 and 18, House of Nairais set for an international tour, with engagements in London, New York, and Johannesburg under negotiation. Plans for a film adaptation and global streaming partnership are also underway.

    This is not just a show — it’s a movement. Investors and global partners are invited to support what promises to be a defining work of African theatre, one that bridges continents while holding a mirror to the world’s oldest conflicts — and boldest hopes.

    The musical is a powerful new musical that explores the soul of Nigeria through a deeply symbolic family drama. When a wealthy man, pressured by his traditional mother, marries four women from Nigeria’s major ethnic groups, his home becomes a battlefield of rivalry, culture, and identity. As tensions rise, the man appears to die under the weight of the conflict, only to reveal he staged his death to unite his wives. Faced with losing their shared future, the women pledge unity, tolerance, and collective strength. Blending Afrobeat, traditional rhythms, and contemporary theatre, House of Naira is a stirring allegory of a divided nation seeking reconciliation. Featuring a world-class cast of international stage and screen actors, this production is not just a story, it’s a statement of hope, healing, and rebirth.

  • Oniru visits Terra Kulture ahead coronation anniversary

    Oniru visits Terra Kulture ahead coronation anniversary

    As part of activities lined up to celebrate the fifth coronation anniversary of the Oniru of Iruland, Oba Abdulwasiu Omogbolahan Lawal, Abisogun II, the monarch yesterday visited Terra Kulture in Lagos.

    The visit is one of several institutional engagements scheduled in the lead-up to the anniversary, which holds on June 7.

    Oba Lawal acknowledged the contributions of cultural, health care, financial and other key institutions to the development of Iruland and Nigeria at large.

    He said the visit was aimed at showing appreciation to stakeholders, who had supported the kingdom’s development agenda, known as the #LeGIT vision — an acronym for “Let’s Grow Iru Together.”

    According to him, the LeGIT framework is anchored on eight pillars: tourism and culture, education and empowerment, health care, environment, security, welfare, infrastructure, and stakeholder engagement.

    The monarch noted that the visit to Terra Kulture was a symbolic gesture of royal appreciation and a validation of the institution’s role in promoting cultural awareness and development.

    “We recognise the impact that institutions such as Terra Kulture are making, not just within Iruland, but also in Lagos and across the country. This visit is to acknowledge and strengthen that relationship,” he said.

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    Chief Executive Officer of Terra Kulture, Bolanle Austen-Peters, stressed the role of arts in economic development and youth empowerment, noting that the sector remained a vital source of employment and cultural growth in Nigeria.

    The renowned filmmaker, who was recently conferred with the chieftaincy title of Erelu Asa of Iruland, described the visit as an honour and recognition of the impact of the creative industry.

    “We just wanted to show a teaser of what we’ve been able to do over the past 21 years. I started as a lawyer, and today I’m a stage and film director. Through Terra Kulture, we’ve impacted thousands of children, young adults and others,” she said.

    She noted that the institution employed over 80 full-time workers and engaged up to 400 personnel during major productions, operating year-round.

    Austen-Peters emphasised the importance of peace in enabling the growth of the arts, saying her experience working in conflict zones such as Sudan with the United Nations had shown her that “where there is peace, we can strive for prosperity.”

    She lauded the Lagos State Government, the Oniru, and the Iru chiefs for maintaining a peaceful environment that allowed businesses in the arts and culture space to thrive.

    “People do not often recognise that the art is now bedrock of employment for young people in Nigeria. The kind of security we enjoy in Lagos is what makes events like ‘Detty December’ possible and attracts tourists to the city,” she added.

    Austen-Peters appreciated her team for their loyalty and contribution to the institution’s growth, noting that some workers had been with her for up to two decades.

    She added that Terra Kulture’s productions had been staged internationally, in countries, including the United Kingdom, Egypt, South Africa and the United Arab Emirates.

    She expressed pride in her Yoruba heritage and her new chieftaincy title, describing it as a privilege and honour.

    The fifth coronation anniversary is expected to feature events that highlight progress made under the LeGIT agenda, while fostering renewed collaboration between the palace and its partners.

  • Ogun, Terra Kulture to set up film, entertainment village

    Ogun, Terra Kulture to set up film, entertainment village

    The Ogun state government will collaborate with a private sector arts and culture company, Terra Kulture, to establish a film and entertainment village in the state, Governor Dapo Abiodun, has said.

    According to the governor, the project will help the state to preserve the legacies of those who have pioneered and excelled in the fields of music, film, drama, and entertainment.

     Abiodun made the disclosure when he received the Chief Executive Officer of Terra Kulture, Bolanle Austen Peters, in his Oke-Mosan office in Abeokuta.

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    The governor stated that the Ogun State Government would be more than happy to invest in the project.

    “From the onset of our administration, we always wanted to have some sort of creative arts and entertainment zone, but when we assumed office, the government was laden with so many priorities. We wanted to ensure that we first paid attention to matters that touch the lives of the people directly.

    “Because it is only when you are comfortable and happy that you will begin to think of relaxing and being entertained; we had to do that.

    “We are confident that we have not just accomplished that; we’ve made the most of it, and our focus in the last year has been how to push the frontier in the areas of culture, music, and entertainment.

  • Sometime In May at Terra Kulture

    Sometime In May at Terra Kulture

    Theatre in Lagos is thriving like never before and fans are savouring the experiences. Young filmmakers are also taking their interest beyond screen to the stage. Theatre enthusiasts have been presented with an assortment of stage plays in the past year.

    This year, theatre at Terra Kulture was off to a great start with stage play Sometime in May beginning the year with its showing from February. Starring actors such as Wumi ‘Tuase, Odiah Emmanuel, Joy Nmezi and Toyin Buraimoh, Sometime in May is a romantic comedy that evokes a variety of emotions, making you cheer for the underdog. It follows the story of a struggling photographer who finds himself in a hilarious make-or-break wedding arrangement with his overzealous fiancée.

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    Set in a beautiful garden theatre experience, the play is an interactive one and the audience enjoys engaging directly with the actors. Audience reviews from the play few weeks ago have certified this as a must-watch to set off our love for theatre in 2024.

    Writer Debola Santa Ogunshina, producer Tobe Amechi and director Austine Onuoha, have created a beautiful work of art with Sometime in May. The play had its final showing in last weekend of February.

  • BOLANLE AUSTEN-PETERS: I would have been a dancer

    Bolanle Austen-Peters, CEO Terra Kulture, is often described as a game changer who stormed the entertainment industry with a bang and has continued to stay at the top. In recent years, the lawyer-turned culture promoter has embraced entrepreneurship and excelled at it. In this interview with Omolara Akintoye, she reveals how she became an employer of labour, how she is impacting on the younger generation and why women should participate actively in politics, among others.

    WHAT has life taught you?

    Life is all about living. I intend to live the truest highest ‘bestest’ version of myself. That is what I want to do and nobody can give that to you, you have to give that to yourself. The question you should ask yourself daily is if you are living the best life that you can give yourself. That should be the driving force. That is what drives me.

    Tell us about growing up

    I was born 50 years ago to the family of Chief Afe Babalola, a Senior Advocate of Nigeria. I attended Command Secondary School, Ibadan, where I was the social perfect; and the International School Ibadan. I also attended the University of Lagos, where I read law, and earned a master’s degree in International Law from the London School of Economics and Political Science. I used to be a tom boy while I was small, and this I will say has helped in shaping my life to become who I am today. I studied here in Nigeria and abroad. I am a trained lawyer and I practiced law for a while and also worked with the United Nations High Commission for Human Rights in Switzerland, United Nations High Commission for Refugees and the United Nations Developme nt Programme.

    I am a lover of arts and culture arts. When I returned to Nigeria after my sojourn abroad, it was difficult to practice international law. The reason is that I discovered that international law is no longer relevant if you’re within the borders of Nigeria. I saw the need to do my own business. I wanted to create jobs; my years of working with the UN development agencies had opened my eyes to the importance of job creation. I realised that it was critical for me to become an employer and not an employee. That was how Terra Kulture was established in 2003.

    How did Terra Kulture come into existence?

    It’s about identity. It all started many years back when my children were small and they couldn’t speak their native (Yoruba) language; it was only English language they were speaking. I didn’t like that and I complained to my husband about it and he said “do something about it”. So I started going round all the cultural centres: Goethe Institute, The French School, etc. writing proposals of identity. That was how Terra Kulture came into existence; so Terra Kulture is about identity.

    Terra Kulture is the Nigerian cultural centre, it is an educational and recreational organisation set up to promote the richness and diversity of Nigerian languages, arts and culture. I observed that there were few institutions effectively supporting Nigerian culture. There were, and remain, few places in Nigeria with the appropriate ambience for Nigerians and foreigners to learn about Nigeria’s cultural and linguistic heritage. The rest of the centre is comprised of the Nigerian language and craft school, reading and documentation centre, food lounge, the Terra art gallery and the Terra Arena, a multipurpose theatre.

    Today, Terra Kulture, a private sector initiative, is already a resounding success and recognised as a major cultural hub in Lagos, Nigeria. In recognition of its importance, Terra has attracted visits from internationally recognised personalities such as Roberto Cavalli, Forest Wheatbaker Ben Stiller and many diplomats and highly placed local and foreign government functionaries. It has hosted many repeat visits from local and international students from Harvard, MIT, Chinese University of Hong Kong and many others.

    Terra Kulture is comprised of various units including the following:

    Nigerian language and craft school where Nigerian languages are taught and seeks to ensure that Nigerian languages are passed on from generation to generation and made popular at home and abroad. There is also the Craft Shop section that promotes made in Nigeria gift and craft items. It has helped in redeveloping the Nigerian hand-craft industry, creating employment and a steady source of income for over 60 craftsmen and women.

    We also have the Reading and Documentation Centre, which stocks a wide variety of books on Nigeria and Africa as a whole. The unit anchors book readings, book fairs and organises symposia and lectures on selected topics. It is proud to have hosted readings by renowned Nigerian authors such as Wole Soyinka, Sefi Atta, Chimamanda Adichie, et al. The book reading sessions have helped to develop new writers and re-awakened the Nigerian reading culture.

    Art Gallery features thematic exhibitions focusing on the diversity of Nigeria by celebrating the different cultures and people of Nigeria. The gallery also organises interactive sessions with renowned members of the art community. The gallery has been in partnership with the Ford Foundation since inception.

    What are your greatest achievements?

    One of my greatest achievements was staging my plays in London.  I am glad that we have been able to showcase Nigerian culture to the global audience. You know anywhere you go you will always see a South African, an American, the question is where are Nigerians? We are changing perception, we are changing content, we are changing the way people see us. Infrastructure is critical to arts because without theatre, without museum, galleries, you cannot really do anything. It is like movies.We started stage play about seven years ago through our Terra Kulture Initiative. We opened our doors and we began to grow the industry slowly at that time when theatre wasn’t so popular, and over the past seven years, the brand has grown steadily; now it is crossing borders. Like every new venture, it was difficult initially. However, with sponsorship, things are looking up on the brighter side. As I speak, Terra Kulture is going to South Africa with Fela and the Kalakuta Group with invitation by the government of South Africa.

    Why did you jettison law for the art?

    I was working as an international lawyer with the United Nations and when I returned home I wanted to do something that I was passionate about and clearly the arts was fascinating.

    What kind of person is your father?

    He is a very hardworking person and also very purposeful. If he sets out to do something, he must do it. An example of his determined spirit is the fact that despite being in his eighties, he had opened up the Afe Babalola University and in less than five years had built the school to one of the leading universities in Nigeria.

    What is your assessment of women’s participation in politics?

    I don’t think it is enough, we need to do a lot more. Example is what is going on in Rwanda where there is a lot more in terms of women participation in politics. As Nigerian women, we also need to get to that level. Our inability to participate actively in politics to me is self-inflicted. No one is stopping us, we just need to give ourselves a push, even if we don’t win, it’s a statement. By the time we do it three to four times, we’ll start winning. The earlier we start the better. We still need more women in the political space. As women, we need to take charge of our political space as well as our communities. Inasmuch as we are not doing that, the voices we will hear will be limited. Women should be self-sufficient.

    What has changed about you as you find your way to the top, did you find yourself putting up a male trait in order to get what you want?

    Have I changed? No, I don’t think so. But I used be a tom boy, so for me that is my character trait. Personality-wise, I have always been very blunt and I haven’t changed. I don’t think I want to be a man because we have so many strengths as women and lots of compassion. I know it’s something I hold dearly. I always put myself in other people’s shoes before I do things. I used to ask myself if I were the one in this person’s shoes, what would I have done? And that is the basis upon which I take my decisions with my staff at home and my staff at work. It’s a pity, but we are all guilty in this part of the world in enforcing disparity. When we give people peanuts as salaries and we know they cannot survive on it and we still demand excellence from them; that is not possible, let’s be realistic. If we were to be in their shoes, can we deliver excellence? It is impossible. And you know why people kill themselves to work in multinational companies and bank is because they get bonuses and their lifestyle is being catered for. As women with compassion, we can change the status quo.

    How do you balance work and the home front?

    I don’t know how I have been able to cope, but all I can say is that the thing that encouraged me is sport. I do a lot of exercise and I pray a lot, where I get direction from the Almighty God. Once I do those two things, I will be ready for the task ahead of me. Then I am not a workaholic, what works for me is exercise and prayers in the morning and getting the right hands. I have trained these people in such a way that when I am not around, they take charge and move the business for me. It all depends on how accessible you are in bringing people into your space .We have to enable people, you have to be compassionate. We must ensure that the younger generation gets the best from us.

    Who is your role model?

    My mom was my role model. She was a nurse. My husband is my confidant, and a complete gentleman. If I tell him I want to go to the moon, if I say to him I want to do something, he gives me all the necessary support. Then I have two other counsellors, with those three people in my life I never run out of ideas. By the time I sample their opinions, I don’t miss it. That is where partnerships and relationships come in, it is very important. Share your stories and problems with people, people are there and ready to support you.

    What would you describe as the greatest challenges facing women in business?

    I think it’s funding.It’s more difficult for women to access loans, and I think it is a gender trait. A lot of the women end up doing petty businesses rather than bigger businesses. Women, I believe, are just being careful and by nature we are nurturers, we want to ensure that the money goes round without getting into troubles. I think that inhibits our growth to some extent. As women, we need to break out of our shell by overcoming our fears. They should be bold; the bigger the risk, the bigger the success.

    You recently clocked 50, but you look much younger, what is the secret of your beauty?

    (Gushes) I do a lot of exercise, I eat very light and more of green. More importantly, I think it runs in the family. Genes always play a part; if you have genes that age very early there is nothing you can do about that.

  • Illuminations at Terra Kulture

    At the Terra Kulture, Lagos, at the moment, ten artists who belong to the same group termed Indigenous Minds are having their exhibition of works.  The artists include Kpodoh Michael, Jonathan Ikpoza, Usman Semiu Alvis, Steve Ekpenisi, Sophia Omon Igbinovia.  Others are Ezennaya Ikechukwu, Ojemekele Ighodalo, Raymond Wright, Soile Olayinka and Agemo Francis.  The title of the group exhibition is Illumination II.  These are people bound together by the same dreams, the same ideas, the same artistic ideals, aspiration and hopes.  Their works X-ray the socio-political and economic issues of the present-day Nigerian society.  The ideas ripple with sensitive matters that trouble this nation.  The idea of indigenous minds was begun by Jonathan Ikpoza way back at the Auchi Polytechnic.

    He had gathered most members of this group to raise the idea to give new impetus to the visual art.  He said he felt art had to be given a leap forward.  In his words, “I felt unsatisfied with the performance of most upcoming artists and fellow colleagues within the academic circle.  This gave birth to the indigenous minds.  This was previously named de creative minds.  Today, we organize workshops and art seminars within and outside academic environs”, Ikpoza, who led the exhibition, explained.

    The exhibition provided a platform for those young artists to espouse themselves and bring their professional creativity forward.  Indeed the works vary in style and texture and technique.  But it is obvious they have plenty of angst to express towards the state of anomie in the system.  This being the 4th exhibition by the group since its inception, there were plenty of the works which probe the sanity of leadership, the quasi nature of a democracy that is so incongruous, so obnoxious, that trouble the people.

    These are works that hinge on evolution of meaning in a cultural milieu.  The works of Kpodoh, for instance, hide the interpretations behind disguising phrases and frameworks.  He is more inspired to search between the lines of favourite phrases to discover images with which to couch his visual analogies of perception.  What does change portend?

  • 2018: Terra Kulture bags Tripadvisor Certificate of Excellence

    Terra Kulture has been awarded a TripAdvisor® Certificate of Excellence.

    Now in its eighth year, the achievement celebrates businesses that have earned great traveler reviews on the TripAdvisor platform over the past year.

    Certificate of Excellence recipients over the years include attractions, restaurants and accommodations located all over the world that have continually delivered quality customer experience.

    Bolanle Austen-Peters, the former attorney who founded Terra Kulture described it has added honour stating that “It gives us great pleasure to announce that we have just been awarded with the 2018 Certificate of Excellence from TripAdvisor.

    “Terra Kulture is a multiple TripAdvisor Certificate of Excellence recipient and we’d like to thank YOU, our customers, art enthusiasts, sponsors and patrons for your unflinching support over the past 15 years. We couldn’t possibly have done all this without you”

    Also speaking on the Certificate of Excellence was Heather Leisman, Vice President of Industry Marketing, TripAdvisor, who said: “TripAdvisor is excited to announce the recipients of the 2018 Certificate of Excellence, which celebrates experiences and other travel businesses that have consistently received strong praise and ratings on the world’s largest travel site”.

    “This recognition allows us to publicly honour businesses that are actively engaging with customers and using feedback to help travelers identify and confidently book the perfect trip” she went on to say.

    The Certificate of Excellence accounts for the quality and quantity of reviews submitted by travellers on TripAdvisor over a 12-month period. To qualify, a business must maintain an overall TripAdvisor bubble rating of at least four out of five, have a minimum number of reviews and must have been listed on TripAdvisor for at least 12 months.

  • TKMG Art Auction house, Terra Kulture, Mydrim Gallery hold auction

    TKMG Art Auction House, Terra Kulture and Mydrim Gallery held an auction at the Terra Kulture Arena yesterday.

    Activities leading  to the event had kicked off with Collector’s Preview  and Cocktail Night on  July 20.

    The preview night gave collectors a chance to view some of the pieces to be auctioned, and to have first choice on the auction night.

    It also showed a new and emerging crop of collectors and art enthusiasts, including Tokini Peterside, Dakore Egbuson, Kunle Afolayan, Sonia Irabor, Abimbola Craig, Bolanle Olukanni, Afua Osei, Yasmine Belo-Osagie, Denola Grey, Ozinna Anumudu, amongst others.

    Also present at the preview event were artists whose pieces would be up for auction – Kolade Oshinowo, Nse Abasi, M. Inyang, Nzennaya Barry Ikechukwu – giving them a first-hand chance to persuade art collectors present to buy their pieces on the auction night.

    The event welcomed the two winners of the Instagram Art Competition which gave winners, Prince Idiage and Laju Sholola, the opportunity to showcase their pieces to art lovers and collectors present at the preview event.

    Art auctions in Lagos are rather few and far between in the usually vibrant Lagos art scene, but are gradually becoming some of the most drooled-over events of the thriving art industry. This is thanks to platforms such as the TKMG Art Auction House – giving artists a chance to showcase their best pieces, and even better yet, to sell them off at as high a price as possible.

    Guests were expected to stop by the TKMG Auction House all week (from 23rd – 26th July) to view the pieces before the auction. The TKMG Auction House is located at  Terra Kulture Tiamiyu Savage Street, Victoria Island Lagos.

  • Behold theatre venues of repute

    Edozie Udeze, writes on four cultural event centres that have distinguished themselves as the hotbeds of theatre in Lagos. With the coming of Freedom Park, Terra Kulture, Muson Centre and the National Theatre, people now have more choices when it comes to places to watch plays, films, dances and musical shows and more.

    Whenever the issue of venues for cultural activities is mentioned in Lagos State, four centres quickly come to mind.  These four major venues include the National Theatre, Iganmu, Muson Centre, Onikan, Freedom Park, Marina and Terra Kulture, Victoria Island.  The most interesting thing about these venues is that each has its own peculiar features; features that make it distinct and unique.  A cross section of artists and thespians and culture activists who spoke, harped on these unique features which have helped over the years to keep most art and culture programmes alive and active.  But why these four venues out of the numerous centres that daily host dances, dramas, plays, musical exhibitions and other shows?

    “Yes, they have all it takes in terms of facilities, space, infrastructure and razzmatazz to host art events”, so said Momoh Saidu, a staffer of the National Gallery of Art (NGA) Iganmu, Lagos.  “Of course the National Theatre itself is much more than an event centre”, Saidu went on.  “It is a place where you have numerous cultural offices, apart from the cinema halls where stage plays take place.  This is what gives it an edge over other cultural centres around.  Yet both the Freedom Park, Terra Kulture and Muson Centre have other unique features that make them attractive to event organizers”.

    Inside the National Theatre, for instance, there are cinema halls, exhibition halls and a V.I.P lounge.  Apart from these, its cozy ambiance, with enough elbow room for fun seekers make it quite different from the rest.  Saidu said further: “The National Theatre has the capacity to host different programmes at the same time without each one interfering with the other.  Apart from the six thousand seater main bowl that is not functional now, there are other places around where people can relax conveniently, either to drink, eat or generally hang out.  This is within the premises.  Also, the venue is less expensive. With five hundred Naira, you can watch a film or a play.  But you know that those located on the Island are more elitist and expensive”.

    Beyond that, the Theatre has already acquired this larger-than-life image over the years.  Even when some of the facilities seem obsolete and old, fun seekers often flock the place at the slightest whim to unwind and relax.  “But don’t you think that’s where the strength of the Theatre ends?” asks Ikenna, a thespian whose love for live theatre is indescribable.  “Even though in terms of elbow room these other venues you mentioned are small, you have the atmosphere of modern facilities that help you to relax.  For instance, Freedom Park is roomy, it is airy, and oozes fresh breeze in and out of season.  There are many corners and joints where you can comfortably relax without being disturbed”.  Ikenna, a stage artiste explained.

    He opined that more centres like Freedom Park needs to be established to decongest the existing places.  “It is becoming increasingly small to cater for fun seekers in Lagos.  There are different stages for different shows, you need to expand the frontiers of art venues, to make the sector more viable”, he said.

    “As for the Muson Centre, it does more of musicals and social functions.  But whenever it does a play, it is a play with class.  The venue is not your run-on-mill sort of venue.  It is elitist and caters more for the high and might in the society.  That is why all the facilities function in and out of season.  But come to think of it, Terra Kulture is unique.  It is unique in the sense that it serves dual purposes; there is a place to relax and eat.  There is an exhibition hall big enough to accommodate any type of art works and so on.  Then you have the modern hall updated to suit people’s tastes and requirements”, Ikenna decided, noting, “Terra Kulture is an ideal art centre indeed”.

    For Biodun Abe, a director with the National Theatre, “yes all of these are event centres.  If you like, the National Theatre belongs to the residual while others belong to the emergent.  But you have the residual, dominant and the emergent. Terra Kulture and Freedom Park belong to the emergent; yes they do, serving their own purposes for the art.  And the National Theatre, because it has always been there, I will say it is residual.  Muson Centre belongs to the dominant, yet each has its own role to play as an art event centre”.

    “But there are so many things you have to consider when you begin to classify event centres”, Abe, also the director of Abuja Carnival, said further.  “You have to consider the convenience.  Is it built on purpose as an event centre or not?  Is it about creating a centre to serve the need?  The National Theatre, in this regard, is at the heart of the people.  It is the symbol of theatre in Nigeria and beyond. It is built essentially for theatrical reasons and purposes.  It is to totally promote culture.  Yet, you can’t say the same about Terra Kulture or the rest.  The National Theatre is an iconic centre that reminds us constantly about the whole essence of the art; stage, films, musicals and all”, he said.

    Over time, these venues have come to symbolize people’s cultural values.  They have been playing prominent roles to ensure that plays are staged, musicals rendered while some old and new artists are offered the opportunity to exhibit their art.

    Abe who is a stage light expert, said further: “Let’s talk about hosting multiple events.  National Theatre has the capacity to do just that.  This is so because it has been built for that purpose.  You can’t say the same thing about Muson Centre or any other one around.  This is so because they have limited spaces for that purpose. The halls at the Muson Centre were not built specifically to host all sorts of art events”.

    Some of these centres often try to improvise stages for their immediate needs.  But the most important thing about the Freedom Park is that it has come to serve as an avenue for people to relax in and out of season.  Even though the cost of  entertainment is quite high in there, it is done on purpose.  “It is to discourage all manner of characters from entering the place”, Ikenna offered. “If you are looking for a place for cheap beer, then forget the Freedom Park.  Even the food doesn’t come cheap.  That is to show that it is a place for decent people; a place to relax away from the bustle of the city”, he said.

    Saidu made it clearer when he said, “the National Theatre premises is for both the rich and the poor.  Here food is affordable.  Beers are sold at control prices and those who want to make it big, order for big man’s food too.  So, it depends on what you want, according to your needs.  Most times people prefer to watch plays on the Island due to security reasons.  They feel that those other centres are more secured”, Saidu said.

    Kate Uke, a theatre artiste described the whole centres as intervention centres.  “If you look at it very well, none is really what you want for theatre, whether for film shows or for stage plays.  But since they are what we have for now, I think we need to commend those who have invested in those venues to help promote theatre in the society.  It is not whether one is better than the other.  Each venue has its own purpose to serve and we are grateful for that”, Uke said, insisting that theatre has come to stay because at the moment people have alternative venues to visit whenever they feel like it.

    As for Abe, he summed it up this way: “Yes Freedom Park was built as a prison yard, so those who converted it cannot expand the space.  In fact some places in there have to be retained as a reminder of what that place was before.  But other places were built, in fact earmarked for the purpose of serving as art centres.  However, we have to accept and retain all these places as a way to help theatre and culture grow in the society.  But then the National Theatre is masses friendly in terms of everything.  That is why it is iconic and a venue to deal with numerous issues of the art.  It has a responsibility to the people.  It is meant to be affordable, serve the people irrespective of class or age.

    “It is a rallying point for all classes of artistes.  Here, we have others who have already taken theatre away from the people.  Can people from Ijora-Badia,  Ajegunle, and other such places, for instance, afford theatre on the Island?  This is why each venue is there; yet the National Theatre is for all, it is built for all, for the masses”.