Yinka Olatunbosun

When a fictional work centres around the customs and tradition of the Igbo people, reading itself would feel like a time travel. In writing Reincarnated Jezebel, the writer Augustina Ugonna Mbah, resettles the mind in the age-long taboo and stigma that exist against the class of people deemed to belong to the Osu caste. For contextual purposes, the Osu caste system is notorious for its discriminatory social stratification among the Igbo people in southeastern Nigeria. By dividing the society into “freeborn” (Diala) and “outcasts” (Osu), this practice is a major setback for persons who try to marry from the Osu caste who were historically believed to have been dedicated to local deities. Though it has been outlawed, the generational social stigma and marriage restrictions persist today. Hence, that makes it a relevant subject matter for the author on which the plot is built.

Anchoring the conflict on Dan’s marriage to Nnenna, the writer tells the story using mixed language comprising English that’s embellished with proverbs with a few lines rendered in Igbo language. The Igbos typically communicate with proverbs to teach moral lessons, resolve conflicts peacefully and assert authority by show of wisdom.

Using the culture clash as the theme of the prose, the narration is logically developed from relatable characters: the parents, the in-laws, the elders and the villagers. Dan is an educated young man from a middle-class home who falls in love with Nnenna. Their journey to love begins with a survivor-savior relationship that blossomed into an enduring bond. Their love is put to test by traditional values and their defiance comes at a cost.

The narration in Reincarnated Jezebel was quick, sparing lengthy graphic scenic details but the ambience is not lost on the reader. The imagery of Mrs. Eze’s foodstuff business is vivid and commonplace; but the character of Dan and Nnenna weren’t developed enough to understand what they do for a living aside from the business of falling in love.

As a writer with the responsibility to tell a plausible story even in fictional form, it was no surprise to find how Mbah stirs up conversation about childlessness in the book. The harrowing tale of society’s stigma against Nnenna is a daily reality of African women. But the empathy of storytelling for Nnenna is different from that of Rose.

Rose, a single woman in her 40s, is portrayed as bitter, hopeless and sad. The author leaves no room to empathize with Rose like she did with Nnenna because the character of Rose is designed to create a picture of a frustrated woman who is unfulfilled and unfortunate in life. Sadly, this narrative only reinforces the misconception that older single women end up alone due to high expectations, unrequited love and bad character. While there are a great number of women who end up being single at 40 and above due to far more noble reasons. The truth is that some women prefer to focus on building their careers before jumping into a lifelong partnership; avoiding incompatibility and liability while others quietly endure illnesses that being open about them have only made them ineligible in some households for marriage.

The title Reincarnated Jezebel suggests a villain at the centre of the narrative. Dan’s mother, Mrs Eze and his sister Rose are the two antagonists in the story but Rose would later become a victim of her mother’s venom thus the villain remains Mrs Eze.

Reincarnated Jezebel is a timeless x-ray of life in post-colonial Africa and how obsolete cultures continue to ruin lives in contemporary times. The shrine- in the work- embodies the longstanding belief in spiritism or the supernatural upon which customs- sometimes unfounded- are rooted. In all, the novel though tragic preaches unconditional love, courage and self-determinism in the face of discriminatory cultural practice.

Yinka Olatunbosun

Trino Motion Pictures has announced that its critically acclaimed feature film, The Weekend, is now streaming on HBO MAX. This marks a historic milestone as the first independently produced Nigerian thriller feature to be picked up by the prestigious global streaming platform.

The announcement signals a ground-breaking moment not only for Trino Motion Pictures but for the entire Nollywood industry, signalling HBO Max’s growing recognition of the creative excellence and global appeal of contemporary Nigerian genre cinema.

The Weekend is a gripping psychological horror-thriller that explores the dangerous dynamics that unfold when an orphan, Nikiya (Uzoamaka Power), visits the family of her fiancé, Luke (Bucci Franklin). What is meant to be a long-awaited introduction to her future in-laws turns into a nightmare as long-buried secrets and sinister traditions surface with devastating consequences.

Produced by Uche Okocha and directed by Daniel Oriahi, the film masterfully blends suspense and sharp social commentary. It features a powerhouse ensemble cast including Meg Otanwa, Keppy Ekpenyong-Bassey, Gloria Anozie-Young, Damilola Ogunsi, and James Gardiner.

The deal with Max is a watershed moment for Nigerian independent cinema. While Nollywood is a global leader in volume, The Weekend has carved a unique path through the international festival circuit, proving that Nigerian “Midnight” genre films have a massive global appetite.

“This is a deeply significant moment for us at Trino Motion Pictures and for the broader Nigerian filmmaking community,” said Uche Okocha, Managing Director of Trino Motion Pictures. “When we set out to make The Weekend, our ambition was to tell a story with themes familiar to a global audience, through our unique African perspective. To have HBO Max recognize the quality of this work and bring it to their global audience is a validation that Nollywood stories belong on the world’s biggest stages.”
The acquisition underscores a growing trend among international platforms to diversify their content libraries with bold storytelling from Africa. The Weekend is poised to introduce millions of subscribers within the Central Eastern European territories to the artistry and authenticity that defines the new wave of Nigerian cinema.

Since its world premiere at the 2024 Tribeca Film Festival, where it made history as the first independently produced Nigerian film to be selected for the festival, Its global festival tour includes prestigious selections at the BFI London Film Festival and Screamfest, the largest and longest-running horror film festival in the United States.

The film has dominated the international awards circuit, most notably winning the Best Film “Monster Award” at the Monsters Fantastic Film Festival. Domestically, The Weekend made history at the 2024 Africa Movie Academy Awards (AMAA) by setting a new record with 16 nominations, ultimately winning Best Film, Best Nigerian Film (NFVCB Award), Best Screenplay, and Best Cinematography.

As part of its landmark acquisition by HBO Max, The Weekend is accessible to subscribers across Central and Eastern Europe. Viewers can now experience the suspense and cultural depth of this Nollywood masterpiece in the following countries: Albania, Poland, Czech Republic, Slovak Republic, Hungary, Romania, Bulgaria, Croatia, Kosovo, Slovenia, Montenegro, Bosnia-Herzegovina, North Macedonia, Maldovo and Serbia.

Trino Motion Pictures is a Nigerian independent entertainment company dedicated to producing high-quality, globally competitive motion pictures. With a commitment to cinematic excellence, the company is at the forefront of advancing bold African stories for audiences across every screen.

Yinka Olatunbosun

A recent visit to Ijora Badia, an underserved community in Lagos was quite an eye-opener. A maze of submerged buildings led to a shelter made of recycled PET bottles. Inside it, young children clad in colourful uniforms were making collages from paper scraps. It turned out to be a visual tease before the main event which was the grand opening of a Tier-3 AI Animation hub.

The hub births a new chapter in global storytelling which doubles as a young empowerment centre for young primary school age children. The first animation training was first conducted in 2022 and has buoyed up a generation of spirited young artists who are rising above prevailing circumstances to showcase their artistic as well as tech skills.
On February 26, 2026, Adetunwase Adenle, the founder of Slum Art and Animation Hub, officially opens Africa’s first Tier-3 AI Animation Studio and AI Factory — launching a three-month live stress test designed to demonstrate, refine, and scale what is positioned to become the world’s first fully automated AI Television (AI TV) platform.
The event, which attracted community leaders, partner institutions, investors and media personnel, was created out of the need to train young ones in less privileged communities to develop 21st century skills that can transform their lives positively.

For 90 days, the studio doors will remain open to the public to experience firsthand how AI-powered storytelling is built from concept to broadcast.
Located in the heart of Ijora Badia, the facility is the first animation studio globally constructed using recycled PET bottles, transforming plastic waste into structural innovation and climate-conscious infrastructure.
By embedding circular economy principles into a high-performance AI production environment, the project proves that sustainability and advanced technology can be complementary.
This opening of the AI Animation hub marks the beginning of a structured three-month stress test designed to validate infrastructure durability and energy sustainability; test real-time AI animation generation pipelines; measure production scalability under live conditions and refine collaborative AI storytelling workflows.

As global leaders such as The Walt Disney Company explore AI-driven narrative ecosystems, and companies like OpenAI advance foundational large language models reshaping creative industries, Nigeria is building sovereign infrastructure to ensure African participation extends beyond talent supply — to platform ownership.
The flagship production, The Nigeria Story, aims to unite up to one million contributors in what is projected to become the largest collaborative animation project in history — a Guinness World Record attempt anchored in mass participation and digital inclusion.
Through the dawn to dusk Slum Art school and Animation Hub, over 10,000 children across Lagos have already been trained in AI-assisted storytelling and animation during the pilot phase — validating youth adoption, operational feasibility, and training scalability.
The AI Factory becomes the next level in the community-driven educational ecosystem towards a monetisable industrial production engine positioned for global distribution. One million pre-ready AI storytellers are being mobilised for the next phase from this community thus changing the negative stereotypes largely associated with underprivileged communities. Inspired by blockbuster movies such as Eyes of Wakanda, The Lion King and Madagascar, the hub is set to breed a new crop of creatives whose voices need to be heard globally.

This story will be incomplete without the support of World Connect, whose funding enabled the physical construction of the AI Animation Factory. Their backing transforms recycled plastic into opportunity.
Also on the list of sponsors is First City Monument Bank (FCMB), whose counterpart funding support since 2019 positions this initiative as a Flagship 2026 Corporate Social Responsibility (CSR) Project. According to Omoniyi Iyanda, Head of Corporate Social Responsibility at FCMB, “This initiative reflects our commitment to inclusive innovation, environmental responsibility, and long-term economic empowerment. By supporting AI infrastructure in underserved communities, we are investing in sustainable impact with global relevance.”
“We are building young people with skills needed for the future and to transform lives. It is education that transforms people’s lives and makes people see how to escape poverty and see opportunities around them. Education opens the minds. FCMB believes in building people and impacting communities and that is why you see us going into communities. This is another leap in the right direction.”
FCMB’s partnership signals a shift from charity-driven CSR to capability-driven nation building — accelerating AI literacy among Nigerians in 2026 and beyond.
This 90-day stress test is both a celebration and a proof of capacity.
Adetunwase Adenle describes the moment as a transition from vision to validation:
“We are not asking the world to believe us. We are inviting the world to test us.”
The stress test runs for 90 days beginning February 26.

Yinka Olatunbosun

A public policy advocate, Prince Rotimi Victor Rhodes‑Vivour Esq, has called for urgent improvement in service delivery at Nigerian embassies and consulates across the world, describing current performance as below expectations.

Rhodes-Vivour, a Candidate of the Public Leadership Credential at the Harvard John F. Kennedy School of Government, said the Nigerian Foreign Service, which operates under the Ministry of Foreign Affairs, plays a vital role in protecting Nigerians abroad and promoting the country’s image.

He noted that Nigerian foreign missions are responsible for issuing and renewing passports, processing visas, registering births and marriages, and assisting citizens in emergencies such as arrests, accidents or loss of documents. They also promote Nigeria’s diplomatic, trade and cultural interests.

However, he observed that many Nigerians who use these services complain of long waiting times, slow processing, poor communication and unfriendly staff. Delays in passport issuance and lack of transparency, he said, remain major problems.

In a statement made available to the media, Rhodes-Vivour said although some Nigerians have had positive experiences, especially during emergencies, overall service delivery still needs improvement.
To address the problem, he proposed what he called a “nudge” — a simple behavioural tool aimed at improving efficiency without force or limiting options.

“A nudge is a small change in the way choices are presented that guides people towards better decisions without forcing them,” he explained.

He suggested that Nigerian missions should publicly display clear timelines for processing services such as passport renewal and document verification. These timelines, he said, should be placed on notice boards, mission websites and appointment emails.

In addition, staff should have access to daily dashboards showing how many applications must be completed to meet the stated deadlines.

According to him, this system would increase visibility and accountability, encouraging staff to work faster and communicate better with users.

“When service timelines are clearly stated and monitored, officials are more likely to organise their work efficiently, while users will have clear expectations and less frustration,” he said.

Rhodes-Vivour added that the system would also help citizens plan their visits and follow-ups properly and reduce repeated trips to embassies.

He said one major goal of Nigerian foreign missions — providing fast and efficient passport and consular services — has not been fully achieved, as many applicants still experience long delays and repeated visits.

Another key goal, he noted, is courteous and transparent service, but complaints about poor communication and unfriendly staff show limited progress in this area.
He warned that failure to meet these goals damages public trust and makes Nigerians abroad feel abandoned by their government.

Over time, he said, such failures could also hurt Nigeria’s international image, as inefficient and unprofessional services weaken the country’s ability to represent itself effectively to host nations and foreign partners.

Rhodes-Vivour stressed that his proposed nudge system is practical and easy to implement.

“It gives staff and users clear information they can immediately act on. If delays occur, both sides can refer to the stated timelines, making it easier to resolve problems,” he said.

He added that the approach would promote responsibility, transparency and cooperation, leading to better customer experience and stronger trust in Nigerian foreign missions.

Prince Oluwarotimi Victor Rhodes-Vivour is the first son of Olabode Rhodes‑Vivour (rtd) and Mrs Adedoyin Rhodes-Vivour, SAN.

He is Principal Partner at Akande, Rhodes & Vivour (Barristers, Solicitors and Legal Consultants), President of The 616 Group, and Team Lead at the Rotimi Victor Rhodes-Vivour Youth Empowerment Foundation, a civil society organisation focused on empowering African youth at home and in the diaspora.

He is also the author of yet to be released book: Nigeria’s Path to Prosperity, a collection of scholarly articles inspired by the Renewed Hope Agenda of President Asiwaju Bola Ahmed Tinubu GCFR.

Rhodes-Vivour said improving service delivery at Nigerian foreign missions would strengthen trust, protect citizens better and enhance Nigeria’s standing in the international community.

Yinka Olatunbosun

History long held accounts of the 1897 British Punitive Expedition that saw the looting of several priceless Benin Bronzes. Since then, some socially-committed artists have created replicas of some iconic works of the period as a homage to the lost heritage. Till date, the desire to crystallise this cultural history and heritage still burns in the creative world. For the multidisciplinary artist, Olanrewaju Atanda, revisiting the reality of lost heritage in Nigeria’s colonial history through visual art may not be an accidental response to shifting historical narratives.

Since relocating to the UK, the work of this Lagos-born artist has evolved to reflect both his Nigerian roots and new cultural influences, drawing viewers into spaces of reflection, emotion and dialogue. From being a comic artist at 10, Atanda has groomed his turf as an artist with specialty in drawing, painting, mixed media and calligraphy.

In developing an oeuvre shaped by curiosity, reflection and storytelling, Atanda bears a burden of heritage reclaim through his pencil works, revisiting historical narratives- this time on black paper.

Atanda’s use of black paper in itself is symbolic of the cultural bereavement that characterises most immigrants’ journey into understanding such cultural loss. Sitting in many museums are large collections of looted Benin bronzes. While a season of cultural repatriation is being celebrated in Nigeria following the return of some of these works, it is no gainsaying that these bronzes constitute an essential part of Nigeria’s cultural heritage. By recreating these bronzes on paper, Atanda explores identity, displacement and belonging.

With the Bini Bronze Head (2025), Atanda revisits the legendary bronze sculptures of the Bini people. Atanda captures the elegance, detail and symbolic power of these artefacts. The single-colour white gradient technique highlights how profound beauty can emerge from minimal materials, while symbolism allows viewers to interpret the layered narratives of heritage, loss and resilience.

To reinforce the black identity, Atanda carefully explores charcoal alongside oil, acrylic, ink, watercolour, and pencil, to set the mood and advance his voice in cultural reclamation. The paper and canvas become spaces where intuition and discipline meet, where memory interweaves with imagination.

Through his paintings, Atanda fuses cultural influences, celebrating rhythm, identity, and quiet reflection. By evoking visual dialogue, he draws on viewers to experience textures, colours, and lines that evoke not just beauty, but resonance and connection.

With Bini Bronze Head (2025), the artist takes a retrospective glance at the legendary bronze sculptures of the Bini people using the single-colour white gradient technique that highlights a minimalist’s perspective on lost heritage.

Another piece, Ife Bronze Head (2025) reimagines the Yoruba Ife Bronze heads, trailing pre-colonial history. Atanda’s careful layering of white gradients on black paper is a rare show of quiet elegance and reverence, celebrating the artistic sophistication of Ife artisans. The artwork invites reflection on cultural pride, historical awareness and the enduring value and legacy of African art.

Away from the bronze head-inspired paintings, Seduction: Enchantment (2025) which is a part of Atanda’s Seduction series, captures the subtle beauty and complexity of feminine form. Using white pastel and colour pencil on black paper, the work showcases the interplay of light, shadow and negative space to evoke both vulnerability and quiet strength. The minimalistic approach invites viewers to complete the narrative with their imagination, creating a dialogue between artist, subject and observer. Through simplicity, the piece conveys emotional depth, elegance and the nuanced interplay of life’s contrasts.

Still appealing to the sensual, Seduction: Charming (2025) explores the nuanced beauty of femininity through minimalist light and shadow. Atanda’s monochromatic technique in this painting invites viewers to complete the narrative with their imagination. The work embodies mystery and allure, demonstrating how subtlety can evoke powerful emotional responses while highlighting the elegance and strength of the female form.

Atanda displays his eco-sensitive and spiritual sides with Gazing Upon The Lord (2025), an oil painting depicting an American bald eagle, inspired by the bible. Painted at a moment of personal reflection, the eagle’s upward gaze symbolises resilience, hope and spiritual renewal.

Atanda makes a powerful statement in his portrayal of the Black woman in Chaotic Beauty (2025). Using layered textures and dynamic marks, the artist interrogates the complexity of identity as well as the vibrancy of black cultural heritage despite inner struggles.

In making the mixed media painting titled Veronika (2025), Atanda tells the story of a woman far from her homeland, navigating loneliness while serving others in healthcare. Using charcoal, graphite and watercolour, Atanda captures her quiet vulnerability and profound strength, to elevate the understated emotional labour of immigrants. The work becomes both a mirror and a beacon acknowledging pain while offering hope and recognition to an enduring soul.

Through this oeuvre, Atanda breathes new life into historical pieces while challenging traditional representations. Artists often revisit lost scriptural heritage in painting as a way to reconnect with the past, pay homage or subvert traditional narratives. By interpreting classical themes in a modern context, Atanda bridges the gap between two-dimensional and three-dimensional art forms for posterity.

Oluwatayo Olawale Oladele is a dynamic entrepreneur and procurement specialist driving innovation in Nigeria’s urban living sector. As co-founder of Urban Thrive Limited, established in 2025, he is channeling his expertise into creating solutions that address the evolving demands of modern cities.

With a diverse educational foundation, Oluwatayo holds an ND in Computer Engineering from Yaba College of Technology, a BSc in Transport Management and Operations from Lagos State University (LASU), and an MSc in Logistics, Data Analytics, and Supply Chain Management from the University of Bradford, UK. He is also a proud Member of the Chartered Institute of Procurement and Supply (MCIPS) in the UK. This multidisciplinary background spanning technology, logistics, transport, and procurement has equipped him to tackle complex challenges in supply chains, business development, and digital innovation.

Professionally, Oluwatayo has worked as a procurement specialist and as a business and product development consultant, where he contributed to digital platforms that improve access to essential services. His leadership experience includes serving as Student Union President at LASU in 2019, honing his skills in community engagement, advocacy, and organizational management. In 2020, he attended a leadership conference in the UK, further deepening his perspective on effective leadership.

Urban Thrive Limited focuses on providing the vision, structure, and innovation needed to solve real-world challenges in urban environments. The company is strategically launching its inaugural brand, CribsFinder, a discovery platform tailored to simplify how people find and book homes, short-lets, hotels, car rentals, and other accommodations especially in the Nigerian market.

CribsFinder addresses longstanding pain points such as lack of transparency, unreliable listings, and inefficient search processes. By prioritizing user-friendly property discovery, accessibility for renters, buyers, and agents, technology-driven trust and efficiency, and a deep understanding of local dynamics with an eye toward global scalability, the platform makes accommodation more straightforward and reliable.
(Imagine a clean screenshot or promotional visual of the CribsFinder platform interface showing property listings, search filters, and booking options highlighting its modern, intuitive design.)

The platform, accessible at cribsfinder.com and available as a mobile app, empowers users to discover verified hotels, curated shortlets, long-stay apartments, and trusted vehicle rentals across Nigeria. It emphasizes safety, convenience, and a seamless booking experience, positioning itself as a go-to solution for both locals and travelers.

Looking ahead, Oluwatayo and the Urban Thrive team are focused on ambitious growth. Key ongoing and upcoming initiatives include:
Expanding CribsFinder to more cities and regions across Nigeria
Introducing enhanced features for property verification and building greater user trust
Forging strategic partnerships with property owners and developers
Scaling the platform into other African countries and emerging markets
Pursuing broader Urban Thrive projects centered on urban innovation and lifestyle solutions. 

Oluwatayo’s thought leadership revolves around several interconnected themes: leadership (informed by his conference participation and hands-on roles), urban growth and smart city solutions, technology as a driver of social and economic impact, entrepreneurship and startup development in Africa, and building scalable solutions from local problems. He believes that addressing everyday urban challenges like accessible housing and efficient mobility can create lasting value and opportunity across the continent.

Through Urban Thrive and CribsFinder, Oluwatayo Olawale Oladele exemplifies the next generation of African entrepreneurs: blending global education, local insight, and technological innovation to build more inclusive, efficient, and thriving urban futures. As Nigeria’s cities continue to grow, platforms like CribsFinder are poised to play a pivotal role in making urban living more accessible and trustworthy for all.

Yinka Olatunbosun

As he claws his way out of being an emerging artist to creating new rhythms from the familiar, Waji-Mh, born O. Jean Isekhure delivers his sultry vocals to create a deeply emotional song that adds to Nigeria’s canon of songs about mothers on his song, “Sweet Mama.” The rising Afrobeats singer-songwriter and R&B artist pays a heartfelt tribute to his mother in this song that has a stand-out quality of his three releases on streaming platforms.

This mid-tempo folk song relies heavily on the technique of call and response for its hook. A sung story of maternal love, Waji-Mh’s Sweet Mama trails Nigeria’s rich history of songs that celebrate motherhood. A case in point is Prince Nico Mbarga’s classic ‘Sweet Mother.” A track embedded in the nation’s consciousness, it became a cultural anthem- played at celebrations and funerals. Initially rejected by EMI records in 1974, Sweet Mother became one of the biggest songs in Africa upon its release in 1976 by Rogers All Stars. The song is considered a blueprint of sorts for new artists navigating the familiar to produce new songs and break into mainstream popularity.

In this music lineage is also Wizkid’s Mummy Mi, a celebratory dance track from his Ayo album. The song is dedicated to his mother’s invaluable contribution to his successful career, holding promises to spoil her with the best things in life. Let’s add to this list Asa’s introspective “So Beautiful,” which reflects on the relationship between mother and child.
Waji-Mh draws upon the same maternal love energy in Sweet Mama, articulating the message in two languages- English and the Edo language. The song naturally embodies his cultural roots whilst igniting collective memory in maternal love.

In Sweet Mama, released in November 2025, Waji-Mh gives a tribute to mothers in a reverential manner that shows appreciation for mothers’ place in their children’s lives. In the intro section, guitars come into play. The vocals are layered with a soft accompaniment- part of a mellow rhythm dominated by drums. A marked deviation from his songwriting trajectory, Sweet Mama appears as a product of an intentional songwriting that fuses intimacy, memory, and emotional clarity over chart-chasing moves.

Sweet Mama is markedly different from the usual folk homage with Waji-Mh’s infusion of his indigenous language as a cultural indicator. He opens with “Meh ghi setin mia mi iyemwen”, rendered in the Edo language of his heritage, which translates to “I will never forget my mother.” With emotions running deep into ancestral roots, the song hinges on storytelling through its verses.

The first verse opens with a blessing as both gratitude and prayer: “God bless the day you were born / God bless the day you brought me to life”. “Thank you for the plenty things you went through to give me a life,” has a conversational tone marked by a degree of informality that makes the gratitude heartfelt. It is essentially a son’s conversation with his mother. The call to “keep her good legacy” and “do those good things she loves to do” elevates the song into a lyrical signage on how to live out the qualities which have been imparted through maternal devotion.

Indeed, ‘Sweet Mama’ is both highly personal yet universal. Waji-Mh, by situating the song in his mother tongue, Edo language, creates a music experience that’s intimate and relatable, heightening its capacity for crystallising emotions. Away from mother’s groove, Waji-Mh’s Forever- sung in English and Pidgin English- allows the singer the luxury of romantic thoughts. Produced by J-Flex, it’s a song that works for weddings due to its love affirmations. With Waji-Mh, love is always in the air- somewhere.

Yinka Olatunbosun

African speculative fiction is alive and well in the hands of writers like Chisom Umeh. Chisom, who was recently announced the winner of the Nommo Award for Best African Speculative short story at the Ake Books and Arts Festival in Lagos, is one of the trailblazers of the genre. Speculative fiction, a broad term encompassing writings that lean towards the supernatural or unusual, covers categories such as science fiction, fantasy, horror, magical realism, weird fiction, and more. The African brand of this genre, often overlooked by a majority of readers even though very popular in the West, has in recent times begun to draw interest from a global audience, especially since the release of blockbuster movies like Black Panther.

Quite a few advocates have emerged speaking boldly and representing the continent, defining what speculative fiction means to us here and how it aligns with our realities. Writers like Wole Talabi, Nnedi Okorafor, Tade Thompson, and more have stood strong on this front, and Chisom Umeh, with his recent Nommo-winning work, has become a part of that number.

His short story, “From Across Time,” a time travel story that shines a light on what the far future could look like for us, is inventive and poignant. In the story, we find the protagonist in a sort of one-sided communication with an unnamed character on a screen. The woman on the screen seems to be knowledgeable about the protagonist, Adaeze, even though Adaeze doesn’t remember ever meeting her before. In the course of the story, we learn that the woman on screen is a time traveler who came from the future to Adaeze’s time and that they’ve both had a relationship. But, due to the illegality of this relationship, the time traveler has gone back in time to change the moment they met, so that, from Adaeze’s perspective, the meeting never happened.

From the time traveler, we learn of what the far future looks like and the politics of that time. In this story, Chisom explores memory, power, sexuality as well as the intersection of personal love and duty to one’s country or state. The story situates Nigeria and Africa in a global picture that extends into the far future. Often, science fiction works are written by Westerners and handed to us to digest. These stories often do not include Africans or the African perspective in any way, but writers like Chisom are changing that narrative with pieces that reflect the untold, albeit forbidden, African stories.

Another important speculative story of Chisom’s that does well to centre the African narrative is “Ancestor’s Gift,” an African futuristic climate fiction piece. In this story, we see a country that is hundreds of years away from the present, and climate change has caused the environment to look radically different from what we know. People now live in small communities and depend more on the earth for their food and sustenance. We learn from the imaginative prowess of the author just what Africa can look like if we ignore present-day climate change warning signs. The story, though ending on a somewhat hopeful side, is not to be mistaken for a casual narrative and should be viewed as a wake-up call to everyone who cares about our environment and hopes that further generations will live well in it.

In “Ancestor’s Gift,” Chisom makes a commentary on the layers of smell, colonialism and environmental degradation. This politics of smell constitutes a part of the public consciousness. A seemingly gray area in public discourse, it falls under the scope of environmental justice as it connects with the socio-economic realities of the underserved. The writer’s encounter with ‘The Colonial History of Climate’ as a student largely inspired his interrogation of politics of air and smell in the framework of his narrative. Hence, the veranda in this story serves a metaphoric function of explaining the air of classicism using visual elements and graphic language.

With speculative stories like these, African readers get to not only imagine our futures, but to partake in the shaping of our own narratives with post-colonial perspectives as backdrop. Speculative fiction is a sharp tool to wield, and Africans like Chisom Umeh using it to tell great stories is a good sign that our literature is on the right path.

Yinka Olatunbosun

Lagos ������Ƶ School (LBS) Breakfast Club convened an exclusive session recently that assembled senior executives and industry leaders, to examine Nigeria’s trajectory toward becoming Africa’s leading hub for manufacturing and services.

The LBS Breakfast Club serves as a premier platform for knowledge exchange among top-tier business leaders. It provides actionable insights on economic trends shaping organisational success across Africa and fosters dialogue that drives strategic decision-making.

The session began with an in-depth briefing on Nigeria’s 2026 Economic Outlook, delivered by Bismarck Rewane, Managing Director of Financial Derivatives Company (FDC). The analysis highlighted macroeconomic shifts, market dynamics, and policy indicators critical for long-term growth strategies.

Following this, a fireside chat featuring Aliko Dangote, Chairman of Dangote Group, and moderated by Professor Olawale Ajai of LBS, explored the theme: “Challenges and Opportunities for Making Nigeria the Leading Manufacturing and Services Hub in Africa.” Discussions focused on structural drivers of industrial growth, including backward integration, local production, and leveraging the African Continental Free Trade Area (AfCFTA).

Participants engaged in a dynamic Q&A session addressing supply chain resilience, private-sector-led growth, and the role of innovation in strengthening Nigeria’s competitiveness. The dialogue underscored the urgency of aligning policy and investment to unlock industrial potential and position Nigeria as a regional powerhouse.

This event was supported by First Bank of Nigeria, Optimus Bank, Cowry Asset Management Limited, and Afrinvest Limited, partners committed to advancing executive education and fostering a robust business environment in Africa.

By convening critical conversations on Africa’s economic future, the LBS Breakfast Club reinforces its mission to develop responsible leaders equipped to navigate and shape the continent’s evolving business landscape.

Yinka Olatunbosun

Deola Art-Alade, co-founder of Livespot360 and serial entrepreneur who is keen on redefining the African creative and entertainment landscape, hosted the Women Driving Culture Luncheon where the need for mutual support and collaboration were discussed. This intimate gathering, held at Mr Panther, Victoria Island, Lagos saw some of Nigeria’s most influential women shaping the country’s cultural, creative, and consumer economy. Indeed, the luncheon was designed as a strategic convening, focused on power, collaboration and long-term cultural impact. Leaders in the culture economy such as, fashion designer, Lisa Folawiyo; Lagos State Commissioner for Tourism, Arts and Culture, Toke Benson‑Awoyinka; founder Design Week LagosTiti Ogufere; pioneer female rapper, Sasha P; Korty Eniola, YouTuber and filmmaker; Ruth Kadiri, actor, filmmaker and digital content powerhouse; Funmbi Ogunbanwo, filmmaker and co-founder, Fatherland Productions; Nicole Asinugo, screenwriter; Beatrice Eneh, beauty entrepreneur and founder, Nectar Beauty Hub and Beauty in The Motherland; Banke Meshida‑Lawal, beauty entrepreneur and founder, BM Pro; Tobi Hamilton, founder, The House Lagos; Leslie Okoye, founder, Cookie Skin.

Also in attendance were Bukunmi Grace, talent manager, United Talent; CEO Act Foundation, Osayi Alile; Sade Teyibo, founder, FOLA PR,, Head of YouTube Music, Sub-Saharan Africa,Addy Awofisayo; journalist and founder, SBB Media, Stephanie Busari; beauty influencer, Anita Adetoye; Linda Edozien, CEO, Barazhi Spa and Wellness, Ayo Amusan, founder and CEO, Persianas Retail, and Director Pink, film director; Lamide Akintobi, TV producer, CNN; Henny Zinzuwadia, award-winning sommelier, Busola Tejumola, head of content, MultiChoice West Africa; Wangi Mba‑Uzoukwu, media, film & TV content executive; Bola Balogun, founder, Glam Brand Agency; Ijeoma Balogun, founder, Redrick PR, Yemisi Falaye, entertainment lawyer at The Temple Company; and Blossom Maduafokwa, editor at Nataal and Grammys.
Designed to foster real exchange, discussions centred on access to capital, authorship in African storytelling, cross-industry collaboration, and how women can collectively influence policy, platforms, and pipelines within Nigeria’s creative economy, with the goal of furthering opportunities for mentorship and collaboration.
Speaking at the luncheon, Deola Art Alade underscored the intent behind the gathering:
“When women are intentional about lifting other women, the impact goes far beyond one person. We change rooms, we change systems, we shape what’s possible for the next generation. Today is a celebration but it’s also an invitation to connect, to share and to leave here thinking about who you can move forward.”

The event reinforced a growing shift toward intentional female-led power circles within Africa’s creative industries. The Women Driving Culture Luncheon was supported by Livespot360, Moet & Chandon, M·A·C Cosmetics and Estée Lauder, whose involvement reflects their continued investment in women-led leadership and cultural impact.

Yinka Olatunbosun

The international virtual art showcase All About Animals has officially opened, presenting a global selection of artists whose work honours the emotional, spiritual, and symbolic presence of animals in human life. Among the featured creators is visual artist Olanrewaju Atanda, whose striking colour-pencil artwork on black paper captures the gentle strength and quiet resilience of a deer, an image connected deeply to themes of hope and renewal.

Hosted online by Online Call for Artists through an open, worldwide call, All About Animals is designed to celebrate artistry without borders. The exhibition, which brings together painters, photographers, sculptors, digital artists, and mixed-media makers in a fully accessible virtual environment was besieged by collectors, curators, and nature-art enthusiasts around the world.

As the exhibition continues to attract attention for its inclusive approach, visitors enjoy the aesthetic offerings from both emerging and established artists through a virtual format that removes geographical barriers. Alongside the exhibition, participating artists are being featured through online interviews, offering deeper insight into their creative processes and personal histories.

The exhibition’s curatorial statement describes All About Animals as “a virtual exhibition honoring the spirit and soul of the animal world” one that invites audiences to slow down, look closer, and reconnect with the emotional language of nature.

Atanda’s selected work, Guidance of Hope – colour-pencil drawing of a deer on black paper, is emerging as one of the most quietly powerful pieces in the exhibition. The work portrays the animal with photographic precision while embedding symbolic references to resilience, renewal, community, and guidance, themes commonly associated with seasonal transition and emotional restoration.

“Deer symbolise hope, resilience and strength,” Atanda says. “This work is an invitation to pause, to feel, and to remember the quiet power of nature.”

The artwork’s reflective mood aligns with the exhibition’s broader theme, inviting viewers to consider how animals help mirror our own inner landscapes.

According to the exhibition notes, All About Animals is a tribute to the bond between humans and the wildlife that surrounds us.

“Animals have always meant more than what we see; they are our companions, our comfort, and reflections of our own feelings,” the artistic statement reads.

Viewers will find works ranging from hyper-detailed realism to atmospheric abstraction, each one carrying its own emotional and symbolic weight. Indeed, the virtual format allows audiences to explore the entire collection at their own pace, from anywhere in the world.

Atanda’s work continues to gain visibility through this platform, reinforcing his reputation as an artist working at the intersection of realism, symbolism, and emotional storytelling.

The All About Animals virtual exhibition is currently accessible worldwide, with artworks remaining viewable and available to collectors throughout the duration of the digital show. The exhibition ends this week on December 14. The full collection is available on All About Animals virtual exhibition page on the opencallforartists website.

Yinka Olatunbosun

With over 60 artworks rendered in paintings, drawings, prints, photography, sculpture and mixed media all centred on birds, select artists amplified the creative energy in Glasgow, Scotland in the show from a mix of Project Ability’s studio artists and external contributors, selected by an independent panel of four jurors.

One of the participating artists, Nigerian-born visual artist Olanrewaju Atanda is exhibiting a new oil painting in this ‘Feathered Friends’ exhibition at Project Ability as the festive group show continues to celebrate birds, conservation and artistic voices from around the world.

The annual exhibition is bringing together more than 60 artists whose works explore the symbolism of birds and their enduring relationship with humanity. Hosted by Project Ability, the exhibition is currently running from November 6 through December 20 and is attracting collectors, curators and arts audiences from across the UK and beyond.

This year, the exhibition’s open call expanded its reach, welcoming national and international submissions. A panel of independent jurors selected works that capture both imagination and empathy resulting in a show that is as heartfelt as it is visually captivating.

Atanda’s featured work, Gazing Upon The Lord, is commanding attention for its emotionally direct realism and spiritual depth. The oil-on-canvas painting depicts a bald eagle in quiet upward focus, set against a layered green bokeh background. The work is created at a time of deep personal reflection and draws inspiration from Isaiah 40:31, symbolising renewal, endurance and the promise of restored strength.

“I am using this work to speak about hope in moments of weakness,” Atanda says. “The eagle becomes a metaphor for survival, for rising, and for divine renewal.”

Curators are positioning the exhibition as one of Scotland’s most inclusive seasonal shows, with proceeds supporting artists and Project Ability’s ongoing work with people with disabilities and mental health challenges. The exhibition is also partnering with bird conservation organisations to raise awareness of environmental stewardship across the UK.

This year’s collaboration with the Royal Society for the Protection of Birds (RSPB) adds a unique educational and environmental dimension, with information areas and giveaways enriching the visitor experience.

At its heart, Feathered Friends celebrates the voices of artists who create within Project Ability’s supported studios – programmes designed for adults with learning disabilities, individuals with lived experience of mental ill health, and young people with complex support needs.

Yinka Olatunbosun

In an atmosphere of warmth, gratitude and reflection, the International Women’s Organisation for Charity (IWOC) on Thursday, December 11, 2025, celebrated 30 years of philanthropic impact with the launch of its commemorative book, Threads of the Journey. The event, held at Black Diamond Hotel in Victoria Island, Lagos, drew an impressive gathering of distinguished guests, long-time partners and members united by a shared commitment to touching lives.

Guests from across the world including the Deputy Consul General of the German Consulate in Lagos, Gerald Wolf; Providus Bank’s ED/CEO, Mr. Adeoye Ojuroye; and members from Taiwan, Denmark, India and Switzerland who joined in celebrating three decades of giving through the organisation’s flagship charity programme, Small World.

The celebration opened with a stirring rendition of the national anthem by veteran singer and dancer Yinka Davis, setting the tone for an evening dedicated not only to charity, but to shared humanity.

Founded 30 years ago, IWOC has built a reputation for supporting vulnerable communities across Nigeria. Over the years, its members women from diverse cultures and nationalities have channelled their compassion into improving lives in education, healthcare and social welfare across 22 states in Nigeria.

It was revealed at the event that the organisation has raised more than N800 million since inception, supporting over 300 local charities. IWOC members personally visit beneficiary schools and charity homes to verify needs, disburse funds and monitor the execution of projects to ensure transparency and accountability.

In her welcome address, IWOC Chairlady for the 2025–2026 term, Mrs. Titiloye Ashamu, captured the spirit of the celebration.

“For three decades, IWOC has stood as a bridge — connecting countries, cultures and hearts,” she said. “Our members represent many nations, but our purpose is one: to give hope, dignity and opportunity to the lives we touch.”

Speaking on the newly launched coffee table book, Ashamu described it as “a celebration of countless women who serve quietly,” adding that it is also a tribute to selfless giving and a reminder that “when women work together, communities rise.”

This year’s theme, ‘Threads of Heritage,’ underscores IWOC’s identity as a “tapestry of global sisterhood, woven together by compassion and driven by impact.”

Ashamu also called on sponsors, partners and supporters to continue standing with the organisation, noting that many families and communities still depend on their work. She highlighted IWOC’s annual fundraising events — Small World and Smaller World — as key channels through which vital support reaches charities across Nigeria.

Beyond her role at IWOC, Ashamu brings a wealth of experience as Creative Executive Director at Ethnikologie and as the immediate past Chairperson of the British Women’s Group Lagos.

Taking the audience down memory lane, Olori Lutgarde Adekoya, IWOC trustee and long-standing member, shared a heartfelt account of her nearly three-decade journey in the organisation.

She recalled joining in 1996 through the Belgian Women’s Club and being immediately thrust into leadership roles that pushed her beyond her shyness.

“In 1999, I became the chairperson. We needed grounding as Small World, and in 2008, we became an NGO under the name International Women’s Organisation for Charity,” she said. “From Small World, we launched Smaller World in 2011, and we fed children.”

Adekoya explained that she consistently kept records of IWOC’s journey, which eventually inspired the creation of the book unveiled at the event. She described IWOC as more than an organisation, “a family where we share our love and dedication to help underprivileged people in Nigeria.”

She emphasized that every naira raised from ticket sales and book sales goes directly to charities, with running costs covered entirely by donors and sponsors.

“For as long as my life remains, I will remain part of this fantastic family,” she declared.

The evening’s programme also featured goodwill messages from Gerald Wolf, Mr. Adeoye Ojuroye and IWOC partners, followed by the official book presentation and cutting of the anniversary cake.

A powerful spoken-word performance titled ‘I Am a Woman on a Mission’ by Ella of SPAN brought the night to a memorable close, echoing the strength and purpose that have defined IWOC’s work over the years.

After 30 years, IWOC’s mission remains grounded in the belief that compassion knows no borders. With Threads of the Journey, the organisation has not only documented its past but also given a forecast for future impact.

Yinka Olatunbosun

Last Sunday, Odio Mimonet commemorated an extraordinary milestone: 30 years of artistry, innovation, and storytelling with an intimate anniversary runway presentation unveiling Ambience, a collection that pays homage to the sensory rhythm and emotional landscape of Lagos, the city that has shaped the brand’s identity for three decades.
Hosted at the Rooftop, Providus Bank in Victoria Island, the evening brought together press, cultural figures, fashion leaders, and longtime friends of the brand. The celebration was beautifully complemented by exclusive partnerships with Macallan, the official whisky partner, and Moët Hennessy, the official champagne partner, whose curated tasting experiences elevated the show’s immersive, multisensory atmosphere.

A Collection Rooted in Memory, Movement and the Soul of Lagos, Ambience explores the subtle, often overlooked fragments of Lagos life; the familiar sounds, shifting textures, and fleeting visuals that quietly shape the city’s character. Through this lens, the collection unfolds with sculptural silhouettes and intricate handcrafted embellishments that reflect Odio Mimonet’s long-standing devotion to artistry. Subtle references to the house’s past collections reappear throughout; familiar motifs, textures, and signature codes thoughtfully revived and reimagined for this milestone. Footwear was lightly reworked in-house with soft, ruffled accents that moved fluidly as models walked, while bold, sixties-inspired beauty added a refined nostalgic touch. The result is a collection that feels both introspective and forward-looking, honoring three decades of craftsmanship with a renewed sense of elegance and ease.

Reflecting on the moment, Creative Director Odio Oseni shared, “Celebrating 30 years in fashion is incredibly personal for me. I’ve watched the Nigerian industry evolve from a small, passionate community into a globally recognised force in contemporary design. This journey has been full of challenges and triumphs, but seeing our craft resonate at home and across the world is profoundly rewarding. I look forward to continuing to blend heritage with innovation and to championing the next generation of Nigerian designers.”

An evening of icons, culture and celebration, the presentation welcomed an extraordinary roster of guests, including Toni Tones, Idai Aisien, Mai Atafo, Derin Agbaje, Angela Attah, Lola Ogunaike, Jessica Duru, Dr. Awele Elumelu, Titi Ogunbanjo, Eniafe Momodu, among others, all gathered to honor three decades of Odio Mimonet’s influence on Nigerian fashion.
The evening blended nostalgia with forward momentum, reaffirming Odio Mimonet’s legacy as one of Nigeria’s most enduring fashion houses and underscoring its continued commitment to shaping contemporary African luxury, supported by distinguished partners Macallan and Moët Hennessy.
High-resolution images, the full collection story, and additional post-event assets are available upon request.
Founded in 1995, Odio Mimonet is a luxury Nigerian fashion brand celebrating nearly 30 years of creating chic, versatile, and high-quality designs for the modern woman. Known for couture and the popular Voyage ready-to-wear line, the brand blends elegance, resilience, and artistry in every piece.
Odio Mimonet’s collections have been showcased locally and internationally, and are stocked at leading concept stores across Africa and on Moda Operandi. The brand also empowers youth through Mimonet Threads, a 12-week fashion skills program led by award-winning Creative Director Odio Oseni, providing technical training, mentorship, and opportunities for entrepreneurship.
Handmade in Africa and inspired by art, Odio Mimonet fuses heritage, craftsmanship, and sustainability to create fashion that’s functional, timeless, and culturally rooted.

Yinka Olatunbosun

Nigeria has scored a major cultural milestone as esteemed archivist, historian, and curator Dr. Oludamola Adebowale has been appointed to the Executive Committee of the International Council on Archives (ICA) Section on Archives of Literature and Art (SLA) for the 2025–2029 term. The appointment places Nigeria at the center of global conversations on the preservation, accessibility, and advancement of literary and artistic heritage.

The SLA Executive Committee—made up of experts from some of the world’s most influential archival institutions—will steer global policies, scholarly initiatives, cross-border collaborations, and the development of ethical archival practices for the next four years. Dr. Adébọ̀wálé, who joined the International Council on Archives (ICA) several years ago and remains an active member, now represents Nigeria on this prestigious global platform.

A strategic win for Nigeria’s archival sector, Dr. Adébọ̀wálé’s inclusion on the committee is expected to significantly elevate Nigeria’s archival ecosystem. His contribution will help in
strengthening Nigeria’s visibility and influence within global cultural heritage networks; expand international collaborations that support digitization, preservation training, and institutional partnerships.

In addition, Adebowale’s appointment will help position Nigerian literary and artistic archives within major global research platforms and scholarly discussions and advocate for the inclusion of African narratives, languages, and histories within international archival standards.

His appointment arrives at a crucial time as Nigeria intensifies efforts to document its creative and historical heritage, from literature and visual arts to cultural memory and born-digital collections.

A Distinguished Global Committee, the 2025–2029 SLA Executive Committee includes: Heather Dean (Canada)- Chair, Section on Archives of Literature and Art; Dr. André Derval (France), Dr. Heidi Egginton (Scotland), Dr. Sebastian Gurciullo (Australia), Sandrine Guérin (USA), Catherine Hobbs (Canada), Dr. David Sutton (UK), Yayoi Tsutsui (Japan) and Elisabetta Zonca (Switzerland).

This diverse cohort will guide major initiatives such as virtual global events, training programs, collaborative research networks, and the expansion of the World-Wide Directory of Repositories Holding Archives of Literature and Art—one of SLA’s most important international resources.

As part of the Executive Committee, Dr. Adébọ̀wálé will contribute to shaping the future of archival practice worldwide, with responsibilities that include: supporting global standards for literary and artistic archives; enhancing multilingual and inclusive metadata systems; strengthening ethical and sustainable archival practices; engaging in cross-continental research and digital innovation projects as well as ensuring broader representation of African creative archives on the global stage.

Dr. Oludamola Adebowale, known for his pioneering work in historical preservation, serves as Senior Curator with the Nigeria-Brazilian Public History Project and is the founder of ASIRI Magazine. He is an Associate Fellow of the Royal Historical Society (UK), a prominent cultural strategist, and curator of landmark exhibitions including Wole Soyinka: Timeless Memories and the British Council 75th Anniversary Virtual Exhibition. His innovative projects—such as the 1851 Agidingbi Historical Chess Game—continue to shape Nigeria’s evolving narrative culture.

Dr. Adebowale’s appointment reinforces the rising global significance of African archivists and solidifies Nigeria’s growing leadership in cultural memory, preservation, and archival innovation.

Yinka Olatunbosun

Renowned worship minister Odunayo Adebayo is excited for a number of reasons lately and one of them is rooted in the joy of a new release. His new worship sound Emimimo captures the spiritual depth that defines his ministry.

A few years ago, he was a vibrant corporate executive involved in project management, brand strategy and communications. These fields helped to shape his discipline while deepening his commitment to meaningful work.

“Before that, I also spent several years in the telecommunications industry,” he opened up.
But music didn’t replace his secular work. For him, it wasn’t a transition in the traditional sense, because music has always been an integral part of his life.

“I simply stepped deeper into what God already wired into me. Every part of my journey, from corporate work to brand communications, has contributed to how I create and minister today. Everything flows in one direction: Purpose,” he said.
Music holds a spiritual place in his heart to connect with God, serving as a powerful tool in ministry.

“Music is life, ” he continues. “It is a language of the Spirit, a way God breathes on hearts, heals, restores, and redirects destinies. For me, music is not just sound; it is essence, presence, and alignment with God’s heart.

Emimimo, he explained, was born from deep fellowship with the Holy Spirit. It captures the reality of walking with Him daily, being taught, strengthened, and transformed from within.
“I desire that as people listen, they experience a stirring into deeper intimacy, clarity of purpose, and a renewed consciousness of the Holy Spirit’s presence in them. I want this sound to awaken something eternal in the hearts of everyone who hears it.”
Furthermore, he described his collaboration with Pastor Nathaniel Bassey on this song as a divine arrangement.

“Pastor Nathaniel Bassey is my pastor and mentor. His ministry, leadership, and spiritual fatherhood have shaped my journey for many years.Recording Emimimo was more than a session; it was a deeply spiritual encounter. Every part of the process was soaked in prayer, scripture, and waiting on God for direction. We didn’t rush anything. The lyrics and melodies flowed from extended fellowship with the Holy Spirit. When Pastor Nathaniel came in, he brought an atmosphere of depth and consecration that elevated the entire sound. It felt like Heaven bearing witness.”
As a young child who was passionate about music, worship was his means of expressing himself.
Inspired by jazz, Black American gospel, and traditional African gospel, his music is at the core of his life and ministry.

“I anchor myself in God’s Word and devotion. “Godliness with contentment is great gain” has become a guiding principle for me. I don’t try to keep up with the noise; I focus on staying aligned with God’s rhythm for my life.”

For him, the Worship House is a gathering of believers who hunger for God and His presence.
“We are grounded in the written Word and sustained by prayer, and we’ve seen God move mightily in the lives of those who attend,” he added.

Reflecting on other parts of his ministry, he revealed that The Love Initiative Project began in 2012 as an outreach to underserved communities. Over the years, thousands have been impacted through the distribution of relief materials and the sharing of the gospel in love.
His advice to young aspiring worship ministers navigating today’s music climate is simple: “Love the Lord with your whole heart and keep your heart pure. Everything else flows from that place.”
Looking ahead to the future, he has his eyes on more projects revolving around music.

“I will continue releasing worship sounds consistently, building meaningful platforms, and strengthening communities that pursue God sincerely by God’s grace.”

Yinka Olatunbosun

The pulsing energy of Lagos street dance took centre stage at the Alliance Française/Mike Adenuga Centre, Victoria Island, as the MARA MANIA exhibition opened its doors to TikTok mara dancers, art lovers and the city’s creative community. The exhibition, which runs from 29 November to 20 December 2025, celebrates one of Lagos’ most exciting underground cultural movements—mara, a fast-paced sound-and-dance style that has become a nationwide sensation.

Presented by the Embassy of France in Nigeria, in partnership with Alliance Française Lagos and Improv Practice, the show transforms the gallery into a sensory tunnel of sound, movement and history. At the centre of the hall sits a yellow-and-black keke, instantly immersing visitors in the sights and pulse of Lagos street life. Walls come alive with colourful portraits of street-dance legends, tracing Nigeria’s evolving street choreography from Ajegunle’s Galala in the 1990s, to Swo, Alanta, and the Yahooze craze powered by Olu Maintain.

The exhibition is curated by Marianne Ournac, Cooperation Officer at the French Embassy, and Anthony Dike, who explained that every installation was designed to bring visitors into the “world of mara.”

One section allows guests to learn mara steps by standing on a platform where their image is merged with that of a dancer on a screen. “You mimic the steps and learn by doing,” Dike said.

Another striking space recreates a Lagos charging centre to display viral TikTok videos that helped spread the mara movement. “Charging centres are lifelines in communities without steady electricity. We used that concept because many dancers actually rely on these spaces to keep their phones powered for recording,” he explained.

The “Faces and Stories” wall highlights 10 major contributors to the mara ecosystem: Odogwu Mara, DJ Khalipha, Zenny B, SKiLo Richie, DJ YK Mule, King Kong Mara, DJ Cora, DJ Tobzy, A221, and Kadima, whose music has even caught the attention of global DJs like Skrillex.

Visitors can also try their hands at mixing mara beats in a dedicated DJ booth designed as a creative play space.

Born on the streets of Lagos Mainland, mara has grown into a creative language shaped by young DJs, dancers and neighbourhood communities. It is fast, improvised, street-rooted and unapologetically expressive. Many of these artists recently represented Nigeria at the Nyege Festival 2025 in Kampala, supported by the French Embassy, helping to take mara to global audiences.

The exhibition grounds that momentum back home, honouring the local scenes that gave Mara its authenticity.

Speaking at the opening ceremony, Laurent Favier, Consul General of France to Nigeria, praised the raw power of the genre.

“I was astonished to learn that ‘mara’ means street or madness. And with the sound of the music, I wasn’t surprised—the BPMs are crazy,” he said. “This is a pure artistic language on its own, driven by the raw energy of Lagos streets.”

Favier noted that the exhibition is funded through France’s Passion Africa Fund, which supports creative talents across the continent. “We are proud to do this in Nigeria, where the creative ecosystem is vibrant. This partnership connects Nigerian and French creators and strengthens cultural exchange.”

He also commended the researchers and artists behind the project, including We Talk Sound, producers of the Mara Mania documentary featured in the show.

While the gallery remains the heart of the exhibition, the opening celebrations continued later that evening with the MARA MANIA Live Showcase at Freedom Park, featuring top mara DJs, dancers and the public premiere of the documentary. The showcase translated the exhibition’s visual energy into live performance, bringing the mara experience back to the people who made it.

Yinka Olatunbosun

A heart-warming moment was uncovered on Thursday, November 27 as writer and dentist Nkereuwem Albert formally launched his debut novel, The Bone River, at Ouida Place, Ikeja Lagos. The 391-paged urban fantasy, published by Ouida Books, draws heavily from the history, myths, and cultural traditions of Calabar.

The event was an immersive literary experience, featuring conversations with the author, live readings, a short dramatic performance as well as book signing sessions.

Kicking off with a short drama drawn from the novel, the audience later embark on soul travel with the author as he read from the book’s epilogue, pausing occasionally to explain the magical elements woven into the story, characters he described as “a joy to create.”

Albert explained that writing the story required deep research and personal conversations with custodians of Calabar culture including masquerade groups whose knowledge helped shape the novel’s spiritual world.

“In writing, I wanted to tell readers the things we did to survive pre-colonial, colonial, and post-colonial eras in Calabar,” he said. “The good, the bad, and the ugly.”

Still, he noted that he approached the task with caution, determined not to offend the very people and traditions he hoped to honour.

“Knowing how much to say, and recognising the line between cultural preservation and exposing secrets that should remain sacred, was important to me,” he said.

The Bone River blends modern life with ancient mysteries. Set in Calabar, it explores identity, belonging, memory, and the hidden forces that shape human lives.

At the centre of the narrative are two powerful female characters: Heych Henshaw, a freelancer fleeing a malevolent god, who reluctantly returns to a city she once swore to abandon; and Afem Aba Ye Duop, the “Hand of Death,” heir to a throne built on bone ash and ancient power, desperate to claim a future beyond what tradition demands of her.

Their paths collide as the old balance—maintained by the “Secret Peace”—begins to crumble, dragging them into a storm of legacy, betrayal, and awakening gods.

Born in Lagos but shaped by his years in Calabar, Albert has been published in respected platforms including Omenana, Fusion Fragment, FIYAH Magazine, and Will This Be a Problem? His talent has earned him the Dream Foundry Prize for Emerging Writers.

Outside writing, he practices as a dentist—an unexpected pairing that he said keeps him grounded.

Founder of Ouida Books, Mrs. Lola Shoneyin, presented Albert with a framed cover of the novel. The celebratory cake-cutting, now a signature part of every Ouida book launch, added a warm, communal touch.

Ouida Books, known for promoting bold African voices and carefully curated international titles, continues to position itself as one of Lagos’ vibrant literary hubs.

With The Bone River, Albert steps into the literary scene with a story that lifts the veil on Calabar’s mysteries inviting readers into a world where power is ancient, loyalty is fragile, and the rivers never stop watching.

Yinka Olatunbosun

After its 14-year hiatus, the Lagos International Trade Fair Complex came alive again as the Nigeria International Trade Fair (NITF) returned to its historic home, drawing traders, industry players, and government officials to what is being celebrated as a rebirth of Nigeria’s biggest marketplace for trade and investment.

The 10-day fair, which runs from November 21 to 30, 2025, is organised by the Lagos International Trade Fair Complex Management Board (LITFCMB) in partnership with the Ministry of Industry, Trade and Investment. This year’s edition champions “Trade, Technology and Transformation: Leveraging Digital Trade for Economic and Industrial Growth,” with a renewed focus on sustainability, SME empowerment, non-oil exports, and digital enterprise.

The complex was bursting with life as exhibitors paraded their products in colourful stands and visitors flocked in, eager to buy, sell, explore opportunities. The bustling atmosphere signaled what many expect to be days of massive commercial activity.

The fair’s return marks the end of long years of administrative challenges and stalled development that left the complex underused, despite its regional importance. Now, the board declares it is ready for a new era.
According to the board, the event will provide a unique opportunity for exhibitors from all over West Africa to showcase their goods and services, engage in ������Ƶ to ������Ƶ (B2B) and ������Ƶ to Government (B2G) exchanges, network, establish new business contacts and conclude business deals.

The opening ceremony attracted a lineup of notable guests, including: Jumoke Oduwole, Minister of Industry, Trade and Investment, Sen. John Owan Enoh, Minister of State for Industry, Trade and Investment, Alhaji (Dr.) Yahaya Abubakar, Etsu Nupe, Dr. Mu’azu Babangida Aliyu, former Governor of Niger State, Hon. Ahmed Munir, Chair, House Committee on Commerce, Industry leaders and presidents of trade associations within the complex.

Executive Director of LITFCMB, Barr. Vera Safiya Ndanusa (FCBA, NPOM), declared the fair a symbol of a new national direction for trade and digital innovation.

“Today is more than an annual event. It shows that Nigeria is ready — ready to compete, collaborate, innovate and lead,” she said.

She noted that the board has embarked on critical rehabilitation of the complex, including improved infrastructure, better sanitation, tighter security, transparent management practices, and more inclusive access for SMEs, women, and youth entrepreneurs.
“We are not simply managers of physical space. We are custodians of a national gateway to economic opportunity.”

According to her, the complex will serve as a key entry point to African Continental Free Trade Area (AfCFTA) activity, helping Nigerian businesses expand across Africa and strengthening intra-African commerce.

Minister Jumoke Oduwole praised the management’s efforts, calling the complex “one of the largest in Africa” and a vital channel for local businesses to access global markets.

“This trade fair complex was purpose-built to encourage trade and intra-African trade. The ministry is here in full force to support this revival and return it to its former glory,” she told journalists.
She commended exhibitors and partners, whom she called “the real MVPs” of the fair’s success.

Former Niger State Governor, Mu’azu Babangida Aliyu, described the Ministry of Industry, Trade and Investment as “the basis of the country’s growth,” urging policy focus on reviving dormant industries nationwide. “If we take this ministry seriously, I believe that many dead industries across the country will be revived.”

Also speaking, Eric Ilechukwu, President of the Stakeholders Association, celebrated what he called “the resurrection of Nigeria’s biggest trade fair,” while urging the federal and state governments to work together.

“When two elephants fight, the grass suffers. We need collaboration, not competition,” he pleaded.

Established in 1977, the Lagos International Trade Fair Complex was built to promote commerce in West Africa and remains the largest trade exhibition arena in Nigeria. The board is legally mandated to organise trade fairs nationwide and hopes to restore coherence and national standards to exhibitions across the country.

The event featured a cultural dance by Art Naija Cultural Group and a poetry performance by Che Joy, showcasing Nigeria’s artistic heritage.

Yinka Olatunbosun

After its 14-year hiatus, the Lagos International Trade Fair Complex came alive again as the Nigeria International Trade Fair (NITF) returned to its historic home, drawing traders, industry players, and government officials to what is being celebrated as a rebirth of Nigeria’s biggest marketplace for trade and investment.

The 10-day fair, which runs from November 21 to 30, 2025, is organised by the Lagos International Trade Fair Complex Management Board (LITFCMB) in partnership with the Ministry of Industry, Trade and Investment. This year’s edition champions “Trade, Technology and Transformation: Leveraging Digital Trade for Economic and Industrial Growth,” with a renewed focus on sustainability, SME empowerment, non-oil exports, and digital enterprise.

The complex was bursting with life as exhibitors paraded their products in colourful stands and visitors flocked in, eager to buy, sell, explore opportunities. The bustling atmosphere signaled what many expect to be days of massive commercial activity.

The fair’s return marks the end of long years of administrative challenges and stalled development that left the complex underused, despite its regional importance. Now, the board declares it is ready for a new era.
According to the board, the event will provide a unique opportunity for exhibitors from all over West Africa to showcase their goods and services, engage in ������Ƶ to ������Ƶ (B2B) and ������Ƶ to Government (B2G) exchanges, network, establish new business contacts and conclude business deals.

The opening ceremony attracted a lineup of notable guests, including: Jumoke Oduwole, Minister of Industry, Trade and Investment, Sen. John Owan Enoh, Minister of State for Industry, Trade and Investment, Alhaji (Dr.) Yahaya Abubakar, Etsu Nupe, Dr. Mu’azu Babangida Aliyu, former Governor of Niger State, Hon. Ahmed Munir, Chair, House Committee on Commerce, Industry leaders and presidents of trade associations within the complex.
Executive Director of LITFCMB, Barr. Vera Safiya Ndanusa (FCBA, NPOM), declared the fair a symbol of a new national direction for trade and digital innovation.

“Today is more than an annual event. It shows that Nigeria is ready — ready to compete, collaborate, innovate and lead,” she said.
She noted that the board has embarked on critical rehabilitation of the complex, including improved infrastructure, better sanitation, tighter security, transparent management practices, and more inclusive access for SMEs, women, and youth entrepreneurs.
“We are not simply managers of physical space. We are custodians of a national gateway to economic opportunity.”
According to her, the complex will serve as a key entry point to African Continental Free Trade Area (AfCFTA) activity, helping Nigerian businesses expand across Africa and strengthening intra-African commerce.
Minister Jumoke Oduwole praised the management’s efforts, calling the complex “one of the largest in Africa” and a vital channel for local businesses to access global markets.

“This trade fair complex was purpose-built to encourage trade and intra-African trade. The ministry is here in full force to support this revival and return it to its former glory,” she told journalists.
She commended exhibitors and partners, whom she called “the real MVPs” of the fair’s success.

Former Niger State Governor, Mu’azu Babangida Aliyu, described the Ministry of Industry, Trade and Investment as “the basis of the country’s growth,” urging policy focus on reviving dormant industries nationwide. “If we take this ministry seriously, I believe that many dead industries across the country will be revived.”

Also speaking, Eric Ilechukwu, President of the Stakeholders Association, celebrated what he called “the resurrection of Nigeria’s biggest trade fair,” while urging the federal and state governments to work together.
“When two elephants fight, the grass suffers. We need collaboration, not competition,” he pleaded.

Established in 1977, the Lagos International Trade Fair Complex was built to promote commerce in West Africa and remains the largest trade exhibition arena in Nigeria. The board is legally mandated to organise trade fairs nationwide and hopes to restore coherence and national standards to exhibitions across the country.
The event featured a cultural dance by Art Naija Cultural Group and a poetry performance by Che Joy, showcasing Nigeria’s artistic heritage.

Yinka Olatunbosun

Over 500 students drawn from 30 schools – both public and private schools – were recently empowered with leadership skills during the maiden edition of Emerging Greatness Conference, organised by the Teens Nation of the Elevation Church, Maryland, Lagos State.

The event held at Pistus Hub, Lagos, had the theme, “Agents of Transformation.” The conference, organised by the Elevation Church’s teenagers for their fellow teenagers, featured plenary session,
workshop, counselling/mentoring, breakout sessions, quiz and much more.

The Resident Pastor of the Elevation Church, Maryland, Bola Adisa, explained that they have three churches in one- the main adult Church, Church for the junior ones, that is from 0 to 12 years, adding that Church for teenagers also known as Teens Nation, starts from 13 to 19.

“What we are witnessing today is an initiative of our Teens Church. One of their goals is to give to the community. to extend the love of God; what the elevation just stands for, to schools.

“We don’t just want to be in church, we want to take the ethos, the values, the things that we stand for, for the young ones to know God and live a purposeful life,” Pastor Adisa stated.

“This Emerging Greatness conference 2025 is the first of many, that is to come. The mission of the Elevation Church is making greatness common for the younger ones coming. We believe strongly that there is the seed of greatness in everyone. We also included national thinking into the programme. We’ve always heard that the youth of today are the leaders of tomorrow. That statement puts a waiting mechanism on the youth. But we are telling them that no, you are a leader now. Leadership is all about influence.

“If there is a problem and you can find the solution to it, you are already a leader; you are already influencing and that’s what we have gathered 500 students from 30 schools around us here.”

He further stated: “We gathered them to help call out the greatness, the leadership that is in them, the capability to solve problems, the capability to bring solutions, to their immediate environment is inside of them.”

The coordinator of the conference, Nonye Gilbert said the conference is aimed at bringing together schools because Teens Nation is about equipping young people right from their teenage years to become future leaders and exposing them to greatness.

“We want to bring out their potential, and let them know who they are, so they can start expressing themselves in that sense. We train them to be positive influencers so that they can influence people in positive ways.”

Oluwatobi Olajide Daniel, who leads the Teens Nation, said their vision as a ministry is to promote greatness in the life of the younger generation, particularly the teenagers.

“They are mostly found in secondary schools. The driving force behind the Emerging Greatness conference is to have a platform where teenagers from various schools come together to learn out of the class knowledge. It is also to give them exposure, to network, to meet their peers from another school.”

According to him, the younger generation are the leaders of tomorrow who will drive change and transformation that Nigeria needs. Hence, Teens Nation, Maryland is partnering with schools to sharpen the leadership skills in teenagers.

“Part of what we are launching today is the transformation club. It operates like the press or Jet club that we have in schools. This is aimed at helping us to create a community of young purposeful, future thinking students. Some of the intended sessions we see us talking to the students, for example, soft skills in the career world today, there are many adults that don’t know how to navigate their career path because they were not trained from their tender age. And in the world today, also you realise that there’s what we call artificial intelligence. We don’t need the student to get to their 20s before they’re exposed to some of these tech skills. So, this conference is partnering with Talent Code Africa, helping to teach them education in schools.

“Free vocational skills training, and mentorship programme, are some of the programmes we’ve packaged for the students. There are students that are currently suffering from mental illness and their teachers are not trained to manage it. Some are going through abuse; parental abuse. They don’t even know how to navigate their parental relationship at all. And they are not teaching these things in subjects because subjects are focused on giving them technical skills that prepare them for the future.”

On guiding teenagers against negative social media influencers, Daniel said they teach them how and when they can be on social media, and how to protect themselves from bad influencers and addiction.

“What we are doing is helping them develop self-confidence, self-identity, purpose, clarity, vision and the transformation values, some of these very crucial things,” he continued. “And aside from that, we also have the six transformation values or greatness values under the transformation Club which is also known as the greatness value. Talking about accountability, service to God, humility, love, integrity as well as excellence. The accountability framework teaches you how to use social media more accountability.”

Yinka Olatunbosun

In an attempt to push art beyond the walls of galleries and into public consciousness, Ecobank Nigeria and the Yaba Art Museum of Yaba College of Technology (YABATECH) have jointly launched the inaugural Lagos Pop-up Museum, an expansive citywide programme running from now until February 10, 2026 at Ecobank Pan African Centre, Lagos.

The project, preceded by a press conference at Ecobank’s Lagos headquarters on Tuesday, November 11 was opened on November 8. Positioned as a dynamic cultural platform with exhibitions, performances, workshops, innovation labs, and community engagement sessions, the Lagos Pop-up Museum aims to engage a broad demographic through art, interdisciplinary learning, history, and public interaction.

With support from YABATECH’s departments, national cultural institutions, community partners, and international cultural bodies, the initiative seeks to bridge the gap between the town and gown: fusing academic knowledge with civic consciousness while deepening cultural dialogue in the city.

Representing the Managing Director of Ecobank Nigeria, Bolaji Lawal, the bank’s Head of SMEs and Collaborations, Omoboye Odu, described the collaboration as a natural fit, reinforcing the bank’s investment in Africa’s creative economy.

“When art meets innovation and banking provides the glue, magic happens,” she said. “The Lagos Pop-up Museum is not your regular art show. It is a cultural experience designed to engage everyone from art lovers to curious minds. This initiative will unfold like a Netflix series, with exhibitions, workshops, performances and artist talks.”

She added that the partnership aligns with Ecobank’s CSR priorities in education, innovation, sustainability and African identity.

“As a pan-African bank, we believe in platforms that nurture collaboration, entrepreneurship and cultural exchange. Art is an investment, and a powerful driver of unity, innovation and economic growth.”
The initiative also supports Yaba Art Museum’s celebrated “Gown to Town” agenda, which moves classroom creativity into real-world public spaces.

The Art Organising Coordinator of the Yaba Art Museum, Dr. Adeola Balogun, stated that the pop-up museum is only one part of a larger cultural programme running till February 2026.

Dr. Balogun who also represented Yabatech’s Rector, Dr. Ibraheem Adedotun Abdul, noted that the project has been months in the making:

“In the arts world, when you work quietly in your studio, a time comes when the work must be served to the public. We have reached that stage. We need the public, and we need the media, because this project belongs to the community.”

A key component of the exhibition is its Art Adoption scheme, which links art appreciation with micro-philanthropy for student support.

Balogun clarified that the process is transparent, he said, “It is strictly first-come, first-served, based on the official list of students in need. The museum does not handle any money. Ecobank and the YabaTech Bursary Department manage all funds directly.”

Each artwork carries a minimum adoption value of N100,000, representing the cost of sponsoring one student for a session. Donors may give more, but not less.
“If 500 artworks are adopted but 1,000 students are on the list, only the first 500 will benefit,” he explained, stressing the programme’s fairness and simplicity.”

Curatorial Director, Yaba Art Museum, Dr. Odun Orimolade, underscored the museum’s commitment to cultural revival, restitution of knowledge, and reconnecting young Nigerians with their heritage.

“What we are celebrating is information about lost knowledge, forgotten histories, and things we must unlearn and relearn to understand who we truly are,” she said.

She recalled a previous project with the National Commission for Museums and Monuments where students, initially indifferent, began creating T-shirts bearing Gẹ̀lẹ̀dé imagery after learning its cultural meaning. “Restitution is not just about returning objects. It is about restoring knowledge and addressing erasure,” she added.

For Orimolade, the exhibition’s inclusive adoption model is such that donors across all ages can adopt artworks through a blanket pricing system that keeps the process accessible.
One of the standout sections of the exhibition is “Deep Blue,” a visually striking exploration of water consciousness, environmental responsibility, and Lagos’ fragile relationship with its waterways. All artworks in this section were produced by former Yabatech students.
“We chose this theme because many people do not value water systems,” Orimolade explained. “Water is about survival. It should influence the kinds of houses we build in Lagos. We need to care for our waterways, conserve water, and keep our beaches and streams clean.”
Another section, “Mutating Space,” presents a living ecosystem of creativity and innovation designed to evolve throughout the exhibition’s duration.

The Lagos Pop-up Museum features three major anchors: Adoption Hall:where art meets micro-philanthropy for student support; Homecoming: a cultural restitution experience; Drum Up – celebrating FESTAC ’77 at 50 through archival materials.

Yinka Olatunbosun

For the UK-based dancer, movement artist, mental health advocate and creative educator, Sophia Newton, dance has always been more than just performance. It is a language of healing, a form of expression and a pathway back to oneself. This November, Sophia Newton brings that philosophy to life in “Echoes of the Old Town”, a site-specific dance and wellness experience set in the historic town of Budva, Montenegro.

The idea for this piece grew from Sophia Newton’s reflections on rest, travel and the human need to slow down. After years of supporting children, teens and adults through dance, creative education and emotional wellbeing work, she recognised how easily people move through life without pausing or listening to their bodies. “I wanted to create something gentle, something that invites people back into themselves,” Sophia Newton explains. “Movement reminds us that we are alive. Stillness reminds us that we are human.”

Sophia Newton is the founder of Express and Bloom (UK), a creative arts and wellbeing initiative that uses dance, storytelling and expressive movement to inspire healing, confidence and emotional growth. Her work blends artistic expression with mental health advocacy, guided by her belief that creativity can reconnect people to rest, awareness and inner balance. Through Express and Bloom, Sophia Newton continues to help people find their voice and embrace the power of movement to heal.

“Echoes of the Old Town” takes place against the timeless backdrop of Budva’s ancient walls, cobblestone paths and the soft sound of the Adriatic Sea. It is a creative wellness experience that combines expressive movement, gentle exercises, breathwork and reflective pauses. Participants are guided to release tension, reconnect with themselves and find moments of quiet presence. Sophia Newton describes the work as “an invitation to pause.” In a world that rewards constant motion, the piece offers a rare moment to slow down and experience the healing power of rest.

November holds deep meaning for Newton. It is the month she underwent a major surgery, a time that shaped her understanding of stillness and taught her how deeply the body remembers. During that season, she began writing Becoming Again, a healing journal that captures the emotions, reflections and gentle steps of rebuilding after pain. The journal became part of the inspiration behind this dance and wellness experience. It reminded her that the body carries stories of resilience, survival and hope. “The body does not forget,” she says quietly. “But it can be guided back into trust, rest and expression. That is what this piece is about.”

“Echoes of the Old Town” represents another step in Sophia Newton’s artistic and healing journey. Through Express and Bloom, she continues to create spaces where people can breathe, move, reconnect and remember who they are beneath the noise of life. Her message remains constant: In movement, we release. In stillness, we remember. In expression, we heal.

Yinka Olatunbosun

On the heels of recent protests that halted its official opening, the Museum of West African Art (MOWAA) has made the difficult yet necessary decision to postpone the public opening events for its flagship exhibition “Nigeria Imaginary: Homecoming” as it works closely with local and national decision-makers to ensure that the Museum continues to offer a safe, inclusive, and welcoming space for all visitors.

The MOWAA Institute’s important ongoing programmes in research, art conservation, education and professional training are fully active whilst doors remain closed to the public.

The announcement follows the welcome appointment by His Excellency, President Bola Ahmed Tinubu, GCFR, of a high-level Presidential committee to develop a comprehensive framework for the permanent resolution of all related matters through dialogue, mutual respect and adherence to constitutional provisions. MOWAA remains dedicated to balancing
Nigeria’s important sovereign cultural interests with international partnerships and diplomatic considerations, to the benefit of its core audiences.

The Committee is chaired by the Honourable Minister of Art, Culture, Tourism and Creative Economy, Barr. Hannatu Musa Musawa, and includes representatives from the Presidency, the Federal Ministry of Art, Culture, Tourism and Creative Economy, the National Council for Arts and Culture, the National Commission for Museums and Monuments, the Palace of the Oba of Benin, Edo State Government, and international partners (including German and French embassy representatives).

MOWAA’s long-term vision hinges on its commitment to inspiring and empowering the next generation of creatives, artists and cultural thought leaders in Benin City, Nigeria and across West Africa. It is proud to work in alignment with other stakeholders and cultural institutions across the region, together galvanising the expansion of Benin City as a centre for cultural and artistic heritage; preserving an important past, whilst catalyzing a future that asserts the primacy of African and diasporic cultural production on its own terms.

MOWAA is positive that the continuation of these dialogues will clarify the institution’s
intentions to all, ensuring the Museum can soon welcome audiences to a fully operational, world-class centre which serves its core audiences—local communities, national stakeholders and international visitors—in a transparent, accountable and culturally respectful manner.

In a press statement dated November 14, Phillip Ihenacho, Director of MOWAA says: “We remain dedicated to engaging respectfully and collectively to the contribution of the preservation and advancement of Benin City’s rich cultural legacy, and its people. This includes working together with other stakeholders, leaders and cultural institutions here to bolster the city’s economic development and strengthen its ambitions as a cultural capital for the region. As such, MOWAA holds His Royal Majesty, Omo N’Oba N’Edo, Uku Akpolokpolo, Oba Ewuare II
(CFR), the Oba of Benin, in the highest esteem and continues to uphold deep respect for the Benin throne. We believe this moment can pave the way to renewed dialogue, engagement and understanding, so that together we can realise the full potential of what MOWAA can represent for Nigeria and Africa at large.”

Ore Disu, Director of MOWAA Institute adds: “We set out to demonstrate that it’s possible to build world-class conservation facilities, research and exhibition spaces right here in Nigeria. We’ve shown that African stories can be told on our own terms, and I’m incredibly proud and grateful for what we’ve accomplished so far. This is a gift for Black and African people everywhere; for people today and future generations. We have deep respect for the monarch and people of Benin City. Over the last four years have sought to build inclusive practices that bring benefit to the city, its schools, universities and families. We wish to deepen and improve on this, as we work towards welcoming others through our doors.”

In her remarks, the Honourable Minister Barr. Hannatu Musa Musawa affirms that “Cultural institutions are pillars of our national identity and must be protected through collaborative approaches that respect both traditional custodianship and modern institutional structures.”

In a bold fusion of fashion and impact, Staunchmen Clothing Co., one of Nigeria’s leading premium fashion brands, has officially announced its partnership with the 40 Under 40 Nigeria’s 100 Persons of the Year 2025, an initiative powered by Amb Omotayo Salako and his team, renowned for championing entrepreneurship, innovation, and youth development across Africa.

Born in the urban heart of Lagos, Staunchmen Clothing has carved a niche for itself as the go-to brand for men who embody confidence, ambition, and originality. Now, by Partnering with the 40 Under 40 Nigeria, the brand extends its influence beyond fashion into the sphere of leadership, empowerment, and nation-building.

Speaking on the partnership, Amb. Michael Omijeh, Creative Director of Staunchmen Clothing Co., shared:

“I am thrilled to accept the partnership offer to collaborate with the 100 Persons of the Year team on initiatives that steadily drive youth empowerment and positive impact. I believe that our shared vision and goals align perfectly, and I am highly confident that together, we can create meaningful opportunities for young people to grow, learn, and thrive.

I appreciate the trust placed in me and my organization, Staunchmen Clothing Co., and I look forward to working together to design and implement programs that inspire and equip the next generation of leaders. I am excited about the potential for growth, innovation, and impact that this partnership brings, and I am committed to ensuring its continuous success.”

The 100 Persons of the Year 2025, organised by 40 Under 40 Nigeria, is set to convene visionary leaders, innovators, and young change-makers on December 7th in Lagos. The event will also feature the induction of the new Vice Chairperson of the 40 Under 40 platform and the unveiling of the 100 Persons of the Year 2025.

According to Omotayo Salako, Convener of the 100 Persons of the Year Nigeria and Founder of the 40 Under 40 Nigeria, this partnership reflects the growing synergy between creative enterprise and social leadership.

“We are excited to welcome Staunchmen Clothing Co. on board as a partner. Their commitment to redefining modern masculinity and self-expression perfectly aligns with our vision to nurture purpose-driven youth who lead with authenticity and courage.”

With this partnership, Staunchmen Clothing is not just dressing the modern Nigerian man it’s redefining what it means to lead, influence, and impact society with style and substance.