Category: Business Day

How did you feel seeing the ‘Nigerian Modernism’ exhibition unveiled for the first time at Tate Modern?

For me personally, it was overwhelming in the best possible way. To see the rich and diverse works of Nigerian modernists – from paintings to sculpture, textile and even poetry – placed at the heart of global modernism filled me with pride, but also with a deep sense of responsibility. These were not just artworks on the wall; they were a visual biography of our great nation. For too long, Nigerian creativity has been treated as a footnote in world art history. That day felt like restoration – cultural restoration in real time.

And we made history! The opening of Nigerian Modernism was the largest exhibition opening in Tate Modern’s 25-year history. That fact alone tells you the scale of what this moment represents. We are witnessing a renaissance – across art, film, fashion, and culture more broadly. Africa is rising.

Do you see cultural restoration for Nigeria with the exhibition?

For me, ‘cultural restoration in real time’ is about actively reclaiming and rewriting narratives that were diminished or overlooked. As a Nigerian, it is deeply personal: despite the erasures of colonialism, our culture endured, adapted, and triumphed. As Chief Marketing and Communications Officer at Coronation, it reflects our conviction that cultural capital is inseparable from financial and knowledge capital – like our Founder and Chairman, Aigboje Aig-Imoukhuede, CFR, often says. Sustainable prosperity is not only about financial solutions; it is also about the beautiful stories we tell ourselves and the values we pass on to future generations.

Can you share a moment from the exhibition – a particular work, artist, or personal exchange – that deeply resonated with you?

Yes, one moment will probably stay with me forever. We ensured that among the first groups to experience the exhibition were schoolchildren of Nigerian and African backgrounds here in the UK. To spark a conversation at the start of the tour, I said to Joy Idowu – a curious young student: ‘So you’re Nigerian?’ She replied, ‘My parents are Nigerian.’ I let it rest, deciding to allow the rooms to do the talking.

After almost two hours of immersion – listening to her peers reflect on the brilliance of the 300+ artworks, and seeing for herself the mastery on display – something remarkable happened. At the end, my colleague asked her name. She replied, ‘My name is Joy Idowu, I’m Nigerian.’ That subtle shift was profound. It was the story of identity restored in real time, and for me, the most powerful confirmation of why we are doing this.

Coronation’s Art Strategy links cultural investment to sustainable prosperity. How do you see this partnership with Tate contribute towards turning that vision into reality?

This partnership demonstrates that prosperity is not only measured in financial terms but also in cultural terms. By partnering for Nigerian Modernism, Coronation is showcasing Africa’s cultural wealth alongside its economic potential. It creates a bridge: on one side, our stakeholders see us as custodians of wealth; on the other, as custodians of heritage. Together, it strengthens trust and inspires confidence that prosperity is sustainable when rooted in identity and pride.

How does Coronation’s involvement in the repatriation of the Benin Bronzes and its Galleries relate to this exhibition in London (if at all)?

They are part of the same continuum. Nigerian Modernism shines a light on Nigeria’s 20th-century creativity, while the Benin Bronzes represent centuries of craftsmanship that preceded it. Coronation is working with the National Commission for Museums and Monuments to establish the Coronation Art Gallery in Benin, a permanent home for the Bronzes once they are repatriated. Alongside this, the Coronation Art Gallery in Lagos cultivates broad access to African art through modern and contemporary exhibitions. Together, these initiatives mean that what you see in London is not an isolated moment but part of a wider cultural ecosystem that Coronation is helping to build, both globally and locally.

How does cultural capital strengthen Coronation’s brand story and stakeholder relationships across Africa and worldwide?

Culture is our soft power. It shapes perception, and perception drives trust. When Coronation aligns itself with cultural capital, we are not only projecting African creativity to the world, we are also affirming our values – craftsmanship, identity, legacy. For stakeholders across Africa and beyond, this deepens our brand story. It says: we are more than financiers; we are prosperity partners invested in the enduring wealth of our people and our heritage.

In broader terms, positive narratives about our nation also influence economic perception – cultural capital strengthens confidence, which feeds into credit ratings, and, ultimately, contributes to lowering the cost of capital for Africa.

This exhibition also serves as a global storytelling platform. How do you manage the balance between the corporate sponsorship message and authentic cultural preservation?

I prefer the words corporate partnership. As partners, our role is to support, not overshadow. We don’t seek to brand the art; rather, we enable it to be seen. The narrative must remain people and purpose-first. At the same time, our presence signals that African institutions are stepping up to invest in their own stories. It’s a fine line, but when you approach it with respect and integrity, the partnership amplifies rather than compromises authenticity.

The exhibition brings Nigeria’s story to millions of visitors from around the world. What impact do you hope it will have on young Africans (in the diaspora) who see it for the first time?

I hope it will do for many young Africans what it did for Joy Idowu. At the start of the exhibition, she saw herself only through the lens of her parents’ nationality. By the end, she claimed her Nigerian identity with pride. That transformation is what I want every young African to experience – that art is not distant or abstract, but alive, affirming, and theirs.

And the truth is, there are many ‘Joys’ living not only in the diaspora but also on the continent – young people who, for diverse reasons, have not yet embraced their roots. My hope is that exhibitions like Nigerian Modernism give them reasons to look again, and to take pride in who they are.

Coronation Group has often spoken of ‘democratising art.’ What does that look like in practice for your stakeholders (employees, clients, and communities)?

For us, democratising art means making it accessible in ways that transform how people see themselves. It’s why we opened the doors of Nigerian Modernism to schoolchildren early, so that Joy and other young bright minds could encounter their heritage in a setting of dignity and excellence.

It also means extending access beyond physical spaces – digitising exhibitions so that students in Nigeria or Ghana can explore them virtually; curating programmes in our Lagos gallery that open up modern and contemporary works to employees, clients, and communities; and, through our work in Benin, creating a permanent home for the repatriated Bronzes in partnership with the NCMM, ensuring heritage masterpieces belong to the people once again.

I was delighted to see revered artists like: Baba Bruce Onobrakpeya, Chief Jimoh Braimoh, Chief Muraina Oyelami, and Mama Nike Davies-Okundaye gracing the exhibition. I remember Mama Nike, in particular, commented on my Asooke pant suit, saying it reflected how the younger generation is elevating our local fabrics with elegance and self-confidence. It added some expensive weight to my luggage, but it was worth it!

Just as today’s audiences can meet the extraordinary Ndidi Dike or Gerald Chukwuma, democratisation also means ensuring the high artistry of Ben Enwonwu, Demas Nwoko, Aina Onabolu, Yusuf Grillo, and so many others is accessible to a broader public.

What conversations do you hope this exhibition will spark in Nigeria once the story travels home again?

I hope it will spark pride, curiosity, and debate. Pride in knowing our artists helped shape global modernism. Curiosity to learn more about our cultural history. And debate about how we safeguard our heritage going forward – because preservation is not just a curatorial responsibility, it’s a national one.

And importantly, I hope it reaches the ‘Joys’ who live right at home – those who have grown distant from their heritage or take it for granted. This exhibition is a reminder that our culture is not only our past, but also our future. If in London we witnessed the Joy-effect, then my hope is to see it carried into Lagos – young Nigerians rediscovering their heritage with confidence and pride.

Beyond access, how did the exhibition itself reflect inclusion in the choice of artists and voices represented?

One of the strengths of Nigerian Modernism was its deliberate inclusivity in how artists were represented. The curators – Osei Bonsu and Bilal Akkouche were intentional about bringing together those who had received formal training – often through art societies and higher institutions – alongside those who were self-taught, natural talents whose work was born of instinct and inborn creativity. That decision ensures the narrative of Nigerian Modernism is not confined to academia, but embraces the full breadth of our creative genius.

Another area of inclusion that struck me was gender. I could tell there was a genuine effort to ensure female artists were not left out, which is significant given how male-dominated the art world often is. My favourite room in the exhibition was the one dedicated to Ladi Kwali – the celebrated potter whose face graces Nigeria’s twenty-naira note. Beyond the symbolism, her work reminds us that women have always been central to Nigerian creativity, even if history sometimes under-acknowledged them.

That said, there is still more to be done to ensure female artists blossom in our own time. For Coronation, that principle of balance is central – in art, in business, and in society at large.

How do you believe Aigboje Aig-Imoukhuede’s personal patronage – both as chairman of Coronation Group and a member of Tate’s International Council – has advanced the democratisation of access to art through this exhibition?

His role has been catalytic. As chairman of Coronation and a member of Tate’s International Council, he embodies the bridge between private patronage and institutional collaboration. His conviction that a nation’s true wealth lies in financial, knowledge, and cultural capital has shaped Coronation’s art strategy. Without that vision, we would not have conceived of backing this landmark exhibition. His patronage turns personal passion into public good.

And perhaps nothing confirms the magnitude of this moment more than the words of Baba Bruce Onobrakpeya, who described Nigerian Modernism as ‘one of the best things that has ever happened to Nigerian art.’ When a master whose career embodies resilience and reinvention speaks in those terms, you know you are standing at a turning point in history.

What does this moment, expressed through art, say about how Africa is reframing its narrative on the world stage, and why is this important in today’s digital age?

It signals a shift from being spoken about to speaking for ourselves. In the digital age, narratives travel faster than ever, but they also compete fiercely. By anchoring our story in authenticity and artistry, we are reframing Africa not as a footnote but as a fountain of ideas, creativity, and identity.

That is why this moment is so important: because there are many ‘Joys’ across Africa and the diaspora – young people searching for identity in a noisy world. When they see Nigerian Modernism presented with dignity at Tate, it tells them: your story matters, your heritage is powerful, and your identity is an advantage. That reframing is what strengthens both our cultural confidence and our global influence.

If you are to summarise your experience of the official opening of Nigerian Modernism in one word, what would it be?

History. Because in that moment we traced our past, we made history in the present, and we gestured toward a future where more Africans author new chapters – carrying our story forward with deserved pride.

The federal government has announced prices of the various house types in its Renewed Hope Housing Estates. Buyers from the estates are to pay N8.5 million for a one-bedroom semi-detached bungalow; N11.5 million for a two-bedroom semi-detached bungalow, and N12.5 million for a three-bedroom semi-detached bungalow.

The government says house prices at the estates nationwide are now uniform, meaning the price of a two-bedroom bungalow, for instance, in Lagos is the same as the price of the same size bungalow in Enugu, Kano, or Benue.

The houses, according to a statement issued by Badamasi Haiba, director, press and public relations, at the Ministry of Housing and Urban Development, are part of the ministry’s efforts to make homeownership more accessible and equitable for Nigerians. Haiba explained that the adoption of uniform selling prices is aimed at promoting affordability, transparency, and fairness, and also ensuring that Nigerians across all regions have equal opportunities to benefit from the Renewed Hope Housing Programme. Ahmed Dangiwa, Minister of Housing and Urban Development, disclosed that priority will be given in the allocation of the houses to low and middle-income earners, civil servants at all levels of government, adding that the same will be applied to employees in the organised private sector with verifiable sources of income, and Nigerians in the Diaspora who wish to own homes in the country.

Shuaib Belgore, Permanent Secretary in the ministry, also disclosed that several payment options have been provided to make the houses affordable and payment flexible. These include outright payment, mortgage, rent-to-own scheme, and installment payment plans. The ministry further announced that the sale of the completed housing units across the northern and southern regions will soon commence, advising that applications can be made through the Renewed Hope Housing online portal at www.renewedhopehomes.fmhud.gov.ng, or obtained from the ministry’s headquarters and field offices nationwide,’ the statement added.

The ministry clarifies that the approved prices apply strictly to the Renewed Hope Housing Estates, which are funded through the ministry’s budgetary allocation, as against the Renewed Hope Cities in Karsana Abuja, Janguza Kano, Ibeju Lekki, Lagos, which are being funded through a Public Private Partnership (PPP).

The Lagos State government appears to be taking a stronger stance against domestic abuse and irresponsible parenting, especially in cases involving unplanned pregnancies with young women and underage girls.

Under the Criminal Law of Lagos State, 2015, the government now mandates that any man who impregnates a woman outside marriage must take full responsibility for her welfare until she delivers the baby – or face legal consequences.

According to Section 277 of the law, such a man must provide for the woman’s feeding, accommodation, and medical expenses throughout the pregnancy. Failure to comply attracts a fine of ?45,000 and repayment to anyone who may have supported the woman during that period.

In an interview, legal practitioner Alobalowo Samuel explained that the law seeks to promote accountability and protect vulnerable women.

‘No woman should face pregnancy without support,’ Samuel said. ‘The man’s contribution may depend on his income, but he must assist before and after delivery.’

Public health expert Rachael Aderomu noted that enforcing the law could help reduce maternal deaths in the state.

‘When women get financial and emotional support from their partners, their health outcomes improve,’ she explained. ‘This law will make many men act more responsibly.’

Rachael also urged the government to back the law with social support initiatives such as free antenatal registration, subsidised hospital bills, and empowerment schemes for expectant parents.

Social analyst Pius Oladipupo described the law as a moral and social reset.

‘This is not just a law; it’s a message,’ he said. ‘It will make men think twice before walking away from their partners.’

The law has drawn applause from many Lagos residents. Joshua Oladapo, a young professional, said, ‘It’s only right for a man to take care of the woman he impregnates. Lagos is setting a good example.’

Adekola Janet, a fashion designer, agreed. ‘Other states should adopt this law because this problem exists everywhere in Nigeria,’ she said.

As debates continue, one thing remains clear, Lagos has drawn a firm line against irresponsibility, signaling that any man who abandons his pregnant partner will face the full weight of the law.

In a landmark move that cements its leadership in governance and infrastructure delivery, Lagos State has become the first African government to join the Project Management Institute (PMI) Global Executive Council (GEC).

The GEC unites esteemed representatives from top organisations worldwide to collaborate on the latest project management practices, craft enriching learning and networking opportunities, and host vibrant events with influential thought leaders.

According to a statement, the announcement was made by Governor Babajide Olusola Sanwo-Olu during a reception for the PMI Board of Directors, global leadership, and regional team.

The statement said it marked the first time PMI’s global board convened in Nigeria, underscoring the country’s growing significance in shaping global project management practices. Welcoming the 23-member PMI delegation, led by President and CEO Pierre Le Manh, Governor Sanwo-Olu described Lagos’s membership of the GEC as ‘a defining moment that aligns with our vision to institutionalize project management excellence across government and ensure the timely, efficient delivery of infrastructure and social programs for our citizens.’

Pierre Le Manh, President and CEO, PMI, underscored Africa’s pivotal moment in global project management, noting: ‘Africa is entering what we call the Golden Age of Project Management – a period when the continent has the resources and ambition to build infrastructure at scale,’ he said. ‘With its young, dynamic population and bold vision, Lagos has the potential to leapfrog traditional development models. We are honored that Lagos State has chosen PMI as its partner in building this capability.’

The clock is ticking for Nigeria’s 10th National Assembly as it races against time to deliver the first set of amendments to the 1999 Constitution before December 2025.

Despite Jibrin Barau, the Deputy President of the Senate’s assurance of the legislature’s commitment to a people-centered and timely review, questions persist about whether lawmakers can realistically meet the deadline, especially with most of the amendment bills yet to pass second reading in the Senate.

At a two-day joint retreat of the Senate and House of Representatives Committees on the Review of the 1999 Constitution in Lagos, Senator Barau, who chairs the Senate Committee on Constitution Review, underscored the urgency and importance of the assignment.

He described the constitutional review process as a ‘national duty that must be approached with patriotism, focus, and sincerity of purpose.’

‘It has been a long journey to bring the Senate and the House of Representatives’ Constitution amendment proposals that cut across several sections and deal with different subject matters,’ Barau said.

‘We have been in this process for the past two years, engaging our constituents, critical stakeholders, institutions, civil society organizations, and interest groups in town hall meetings, interactive sessions, and public hearings, harvesting and synthesizing views and perspectives which have culminated in what we have here today.’

The retreat is expected to consider 69 bills, 55 state creation requests, two boundary adjustments, and 278 local government creation requests, all seeking alterations to the 1999 Constitution.

However, insiders in the National Assembly have expressed concern that the December deadline might be overly ambitious, given the current stage of legislative progress.

As of October, many of the proposed amendment bills were still awaiting second reading, meaning they have not yet advanced to the committee or harmonization stages.

Each amendment, by constitutional requirement, must go through all legislative procedures, from first reading to committee consideration, harmonization between both chambers, and eventual transmission to the 36 State Houses of Assembly for concurrence by at least 24 states.

This painstaking process has historically slowed down constitutional amendment efforts in Nigeria.

Previous Assemblies have often struggled to conclude such exercises within their four-year tenures.

The 8th National Assembly, for instance, saw several bills lapse at the end of its session, while the 9th Assembly managed to transmit only a limited number of amendments, notably those on judicial reforms and financial autonomy for state legislatures and judiciaries, which took nearly three years to conclude.

Given that background, observers doubt the feasibility of the 10th Assembly’s December target.

It’s said that even if the joint committees complete their retreat and finalize recommendations by November, moving the bills through both chambers, harmonizing differences, and securing state assembly approvals would require a near-impossible legislative sprint.

Yet, Senator Barau remains optimistic.

In his speech, he charged lawmakers to approach the task with ‘open minds and collective resolve,’ stressing that the committee’s work must reflect the aspirations of Nigerians rather than partisan or sectional interests.

‘It is not going to be a simple task to achieve within two days, but I believe we can do it,’ Barau said.

‘We have promised Nigerians that we will deliver the first set of amendments to the State Houses of Assembly before the end of this year.

‘ I believe we can deliver on this promise if we engage the bills and the issues with open minds.’

He added that lawmakers must focus on ‘what best serves the citizens of Nigeria’ and avoid ‘competitive debates or rivalries between the Senate and the House of Representatives.’

Political watchers, however, point out that beyond legislative procedure, political realities could also affect the timeline.

Constitutional amendments often require consensus among diverse political blocs, regional interests, and institutional stakeholders.

Disagreements over issues such as state police, local government autonomy, resource control, and gender inclusion have historically delayed progress.

In this current review cycle, some of the most contentious proposals include the creation of new states, the restructuring of Nigeria’s federal system, and the demand for full local government autonomy, all politically sensitive issues that require broad national agreement.

Moreover, as the National Assembly edges closer to midterm, political distractions are expected to grow, particularly as parties begin positioning for the 2027 general elections.

This could further limit the time and focus needed to see the amendments through.

Despite these challenges, the leadership of the Constitution Review Committee insists that the current process is better structured than in previous Assemblies.

Lawmakers have adopted a phased approach, intending to send the first batch of ‘non-contentious amendments’ to the states before December, while the more complex issues will follow in subsequent rounds.

This strategy, could help the legislature achieve partial success by meeting its self-imposed December deadline, even if only a fraction of the proposed bills make it through in the first phase.

Barau, who also serves as the First Deputy Speaker of the ECOWAS Parliament, reinforced this optimism, urging lawmakers to see the assignment as an opportunity to strengthen Nigeria’s democracy.

‘We are seated here as one committee. There should be no ‘we’ and ‘them.’ We should be guided solely by the interests of Nigerians,’ he said.

Still, many Nigerians are watching closely, not just to see if lawmakers meet the deadline, but whether the amendments will truly address long-standing governance gaps.

For citizens weary of stalled reforms, constitutional review efforts often feel like déjà vu: grand promises that rarely translate into structural change.

As the National Assembly deliberates, the December deadline stands as both a target and a test of legislative will, coordination, and sincerity.

Whether or not the lawmakers meet it, the coming weeks will determine if this round of constitutional amendment marks a turning point or merely another cycle of legislative ambition and unfinished reform.

The Nigerian cultural and creative community witnessed a remarkable celebration of heritage, music, and artistry as Debbie Ohiri, a PhD holder, celebrated folk artist, scholar, and cultural ambassador, hosted her landmark concert titled ’20 Years Iconic: A Celebration of Folkmusic and Culture.’ The event honored two decades of her artistic journey and her unwavering commitment to preserving and promoting African heritage through music, theatre, and performance.

Held at Zehn Garros, Victoria Island, Lagos, the concert was a grand fusion of artistry, heritage, and innovation. It showcased Dr. Ohiri’s evolution as a performer and storyteller from her early beginnings in traditional folk expression to her present-day mastery that seamlessly blends indigenous authenticity with contemporary creativity.

In her opening remarks, Ohiri expressed heartfelt gratitude to her supporters, collaborators, and audience, saying:

‘This celebration is not just about me, but about a journey one rooted in faith, resilience, and culture. For 20 years, I have carried the torch of African art, and tonight, I am humbled to share this legacy with all who believe in the power of our heritage.’

The evening featured breathtaking performances from notable artists including: Kent Edunjobi, Àrèm? Gemini, Oluchi Odii, Funmi Arewa, Temitope Fash, Yinka Erinle, and Shallom Matthew. Together, they delivered a mesmerizing blend of folk chants, live instrumentation, and traditional dance, supported by DBO Productions, Ohiri’s performance company.

A deeply emotional highlight came when Ohiri paid tribute to her late father by bringing out his guitar untouched since his passing in 2009 beautifully played by the talented guitarist Jegzy, as she performed one of his original compositions in the Ishan language. She also honored her Ghanaian mother by performing one of her favorite songs in Twi, creating an unforgettable moment that bridged personal memory and cultural pride.

The concert was attended by dignitaries, cultural custodians, industry leaders, and art enthusiasts, all gathered to celebrate a woman whose vision continues to shape Nigeria’s cultural narrative both locally and internationally.

Over the past two decades, Debbie Ohiri has built a remarkable career in performance, research, teaching, and advocacy for African performing arts. Through her dedication to the preservation of Yoruba oral traditions, folk music, and indigenous aesthetics, she has ensured that these timeless art forms remain vibrant in the contemporary creative space.

As the evening concluded, the audience rose to a standing ovation, affirming Dr. Ohiri’s place as one of Nigeria’s foremost cultural icons a true testament to passion, purpose, and legacy.

Dr. Debbie Ohiri is an accomplished Nigerian folk musician, performance scholar, and creative visionary. For over two decades, she has championed African cultural expression through music, theatre, and education. Her work bridges tradition and modernity, making her one of the leading voices in cultural preservation and creative innovation in Nigeria and beyond.

The countdown is on as Lagos Fringe Festival 2025 returns for its 8th edition from November 18-23, 2025, at Freedom Park, Lagos. This year’s theme – ‘Hybrid Identities: Merging Boundaries’ – invites artists, filmmakers, and creative entrepreneurs to explore the spaces where culture, technology, and innovation intersect.

This year’s festival theme explores the fusion of cultures, digital transformation, and artistic evolution. It challenges creatives to question the lines that separate art, technology, and identity and to create from a place where these intersections merge seamlessly.

Some of the highlights of this year’s festival include: Lagos Fringe Ideas-Xchange.

It is a convening designed to foster collaboration, learning, and knowledge exchange among creatives. It will feature panel discussions, networking sessions, live showcases, and artist talks, allowing participants to share insights, ideas, and experiences across disciplines.

Topics will explore the evolving creative economy, the role of AI in storytelling, sustainable production practices, and the importance of cross-border collaboration in shaping Africa’s cultural narrative.

Another highlight is the Creative Tech Workshop Series.

This year’s festival shines a spotlight on the intersection of art and technology through a dedicated Creative Tech Workshop Series, featuring: AI and Film Workshop by Olamide Jolaoso.

It is going to offer a deep dive into how artificial intelligence is transforming storytelling, post-production, and distribution in film. Participants will gain practical skills on how AI can enhance creative processes and streamline workflows in the screen industry.

Another is Digital Craft: A 3D Printing Masterclass for Prop, Set, and Costume Design by Film Anatomie.

The hands-on session will introduce creators to the future of film and theatre production design. Participants will learn how 3D printing technologies are redefining prop-making, set design, and wearable art across the entertainment landscape.

There will also be AI and Fashion Workshop by AIStudio.Ng

Fashion meets futurism in this cutting-edge session where technology drives creativity. The workshop will explore AI-assisted design processes, digital fabrics, and how machine learning is revolutionising the global fashion scene.

As well, a visual art exhibition. A stunning curation of works from emerging and established visual artists will take centre stage at the Lagos Fringe Visual Arts Exhibition. The exhibition will explore the theme ‘Hybrid Identities’ through painting, mixed media, photography, sculpture, and digital installations – showcasing how artists interpret self, culture, and technology in a rapidly changing world.

Film Screenings: The Fringe Film Showcase returns with an eclectic lineup of short films, documentaries, and experimental works from across Africa and the diaspora. This year’s screenings will highlight stories that explore identity, innovation, and resilience, offering audiences fresh perspectives and emotional depth. The screenings will also provide opportunities for filmmakers to meet industry peers, discuss their creative journeys, and receive audience feedback in an intimate, collaborative environment.

Inaugural Lagos Fringe Film Awards: For the first time in its history, Lagos Fringe by Pawstudios Africa will host the Lagos Fringe Film Awards – a landmark addition celebrating excellence, innovation, and emerging voices in African and diaspora filmmaking.

The awards will honour outstanding achievements in short films, documentaries, feature narratives, and experimental cinema, spotlighting stories that challenge perspectives and push creative boundaries.

Categories will include: Best Short Film, Best Film with Female Representation, Best African Story, Best Experimental Film, Audience Choice Award, and more. The Film Awards aim to amplify fresh talent, encourage collaboration, and elevate African storytelling on the global stage.

The award ceremony will take place on the festival’s closing night, featuring performances, film retrospectives, and appearances from key figures in film, media, and culture.

The festival experience also extends far beyond performances:

Theatre Performances: Thought-provoking stage plays and performances blending culture, innovation, and social commentary.

Dance Battles: Electrifying showcases of movement and rhythm, celebrating Lagos’ diverse dance culture.

Music and Fringe Nights: Live concerts, DJ sets, spoken word, and the festival’s signature Y2K party – bringing together creatives and culture lovers in an atmosphere of connection and joy.

The Fringe Market: A lively marketplace for artisans, designers, and entrepreneurs showcasing sustainable fashion, handmade crafts, skincare, and art collectibles.

As the days go by, we must not forget the great Nigerian cyclist, Emmanuel Aondoungwa, popularly known as Emmiwuks. His journey may seem unconventional to some, yet deeply meaningful to others. The purpose behind his mission is clear: to campaign and raise awareness about the plight of internally displaced persons (IDPs) and the growing insecurity across Nigeria and the African continent.

Emmiwuks has already toured several African nations on his bicycle, often sleeping on open roads, balconies, and in abandoned buildings throughout his voyage. His courage to embark on such a mission is priceless. His effort is not about personal recognition; it is about humanity, resilience, and shared responsibility. No one is complete without another, we are all bound together in a single garment of destiny.

According to the Internal Displacement Monitoring Centre (IDMC), by the end of 2023, Nigeria hosted approximately 3.4 million internally displaced persons, with about 291,000 new displacements recorded that year. The United Nations High Commissioner for Refugees (UNHCR) attributes these numbers to escalating conflicts, banditry, and climate-induced crises. In Benue State, reports from the Benue State Emergency Management Agency (SEMA) indicate that over 510,000 individuals have been displaced since December 2024, with a majority uprooted by recurrent farmer-herder clashes. Plateau State has faced a similar humanitarian strain, where attacks on rural communities have forced thousands into temporary shelters.

The European Union, recognizing the magnitude of this crisis, committed an additional pound 250,000 in humanitarian aid in 2025 to support at least 15,000 displaced persons in Benue and Plateau. The International Organization for Migration (IOM) has also noted that the prolonged nature of displacement in Nigeria threatens not just humanitarian stability but broader national and regional security, as displacement often fuels migration pressures, criminal recruitment, and intercommunal violence.

The significance of campaigns like Emmanuel Aondoungwa’s extends beyond compassion; it represents an early-warning instrument within the wider architecture of national security. When awareness grows, complacency shrinks. When attention shifts toward the human cost of insecurity, leaders and institutions are compelled to act. Public awareness strengthens accountability, mobilizes resources, and inspires policy interventions that can prevent further deterioration of safety on land and at sea.

The connection between internal displacement and maritime security may seem distant, yet they are interlinked. Displacement disrupts inland economies, agricultural production, and trade routes, factors that indirectly affect ports, riverine logistics, and coastal stability. When internal conflicts push populations toward the coastlines or drive unemployed youth toward illicit maritime activities, the effects are felt in piracy, smuggling, and human trafficking across the Gulf of Guinea. Thus, addressing internal insecurity contributes to maritime order. Insecurity on land eventually translates into instability at sea.

Emmiwuks’ journey therefore symbolizes a grassroots form of strategic security advocacy. Through his endurance and visibility, he bridges humanitarian empathy with national consciousness. He forces attention toward the invisible crises that weaken social cohesion and undermine long-term peace. His message is not only moral but structural: by restoring dignity to displaced persons, we reinforce the foundation of collective security.

Insecurity is not limited to armed conflict or territorial defense; it begins where people lose hope, livelihoods, and belonging. Campaigns that rekindle awareness of these realities promote cooperation among citizens, government, and international partners. That cooperation, fostered through empathy, builds resilience and deters instability.

By raising awareness about internally displaced persons, Emmanuel Aondoungwa reminds us that security begins with inclusion. His journey across nations, through hardship and uncertainty, is a testament to the power of individual initiative in reshaping public consciousness. It shows that the protection of people on land safeguards the integrity of nations, economies, and even seas.

Let us, therefore, support this remarkable Nigerian, Emmanuel Aondoungwa (Emmiwuks), whose campaign demonstrates that when we stand for humanity, we stand for security. His wheels in motion are more than a ride; they are a moving declaration that peace, stability, and awareness must travel together, on the road, in our communities, and across the waters that connect us all.

Basssey Out, governor of Cross River State, has declared APC Constitution Amendment and Public Hearing open for South -South Geo Political Zone.

According to the governor, the ongoing constitutional amendment will accommodate more women in elective and appointive positions ahead of the 2027 general elections.

‘Women who constitute 50 percent of the Nigerian population will be giving their priority attention in the new constitution of the All Progressive Congress (APC).

Governor Otu disclosed this during the first All Progressive Congress APC Constitution Amendment Public Hearing for South-South Geo Political Zone held at Hogis Royal Hotel Calabar, Cross River State. The governor, who was represented by Elvert Ayabem, speaker, Cross River State House of Assembly, said that the constitution is the only safeguard of liberties.

‘For us, to get this party win, it is very encouraging to gather like this, in our shades and colours, to make our impact known, to make contributions to this wonderful, biggest party across the black space, the APC.

‘I would like to thank the Chairman of the Party, especially the Chairman of the Party of the Cross River State, our Honourable Lafonso Sobhaiba Esquire, for the political evangelism you have carried out for the Cross River State. Indeed, there is no better person to have as the Chairman of the Party. I would like to thank Baris Hagailan for all that you are doing. ‘You are a very humane person. At all times that I have walked across, you remain the same person I knew from the beginning and I know now that you are still there. I have already told you that the APC is made up of people with so much creativity, so much empathy for the country, for Nigeria and the citizens.

‘A party with an open hand to welcome what they call a young, a party that has no front, any back line between the rich and poor. And indeed, the APC is for all of us. And this exercise is not oblivious of the fact that people need to make contributions to this party if we want to build a stronger APC.

‘An APC that will lay down a blueprint that will span across 50 years and beyond. This event here, this public hearing, is one of the best because Cross River has the opportunity to make very meaningful contributions to the construction of the APC. And again, I would like to thank His Excellency, the Governor of Cross River State, for all he has done for the APC. ‘For this place, he has won the APC. He has demystified the balance of the three economic differences. His Excellency, the Executive Governor of Cross River State, made us understand that the three refute the three differences.

‘He stood faithfully with the very dogged chairman of the party, on a renaissance level, and carried out the evangelism, very strong, bold, and courageous, that has seen the infusion into the APC from the South-South region. Indeed, we can now count three to four, five governors from this expression. He will be very strong.

‘And I would like to commend His Excellency, President Ahmed Bolatuku, for all he is doing in this country, for reshaping this country and repositioning it in the Committee of Nations. A lot still has to be done. And we are trusting God that God will give him health and enablement to carry Nigeria to the land that we desire to be.

‘On behalf of the government of Cross River State, I hereby declare this country open to God and the people. Thank you very much.

Technology and innovation have long possessed that special power to render skills and sometimes an entire industry obsolete and useless. Many today continue to be apprehensive of latest developments in technology such as artificial intelligence, robotics, machine language and other recent innovations. They fear their jobs and livelihood are on the line. Their fear is not without basis though. Over the past decades, we have seen technology render skills and jobs obsolete.

Typists were once hotcakes in offices and organisations. They ensure written communications are professionally done in a timely and organised manner. First the personal computer reduced their influence and today, mobile devices have confined that once useful skill to the dustbin of history. I don’t know of any organisation today which needs a typist. Companies manufacturing typewriters have since changed gear and joined the innovation wagon or closed shop.

Like typists, switchboard/receptionist call routing is no longer a desirable or marketable skill. Direct dial extensions, mobile phones, VoIP systems, Google Voice, auto attendants and IVR systems have all made switchboard receptionist job dated. Coupled with that is the fact that today, an increasing number of internal and external communications by organisations and individuals happens online, without the need for phones.

I’m sure we all remember Nokia, once the largest phone maker in the world, running on the Symbian operating system that was loved by millions. Then came the Android operating system wave. The Android was free, it was flexible, enabling faster innovation and app development. The world immediately took to Android like fish to water. Nokia failed to read the room and in no time became sidelined, losing its exalted position to newer brands like Samsung and others. It was a similar story with BlackBerry, which also once dominated the business phone market with BBM and QWERTY phones. Like Nokia, it became too enamored with its own image in the mirror and failed to realise that the Android train is picking its passengers. BlackBerry was forced to exit the phone business eventually. That is what technology and innovation do.

The introduction of Atlas

ChatGPT Atlas, OpenAI’s recently released browser, like Android, may just be shaping up to test the resolve of traditional browsers such as Google Chrome, Opera, Edge, FireFox, Safari, etc. Atlas may just have rewritten the script for the browser industry.

So, let’s examine Atlas and the likely impact it may have on keywords, the SEO and backlink spaces.

OpenAI designed the Atlas browser around its flagship chatbot, the ChatGPT, enabling it to integrate AI directly into web browsing. Atlas is built on open source Chromium, which makes it compatible with many of the current web standards and extensions. According to OpenAI, Atlas was built to make ChatGPT more central to everyday web use. Such integration is expected to reduce the friction between generative AI and browsing.

Is Atlas a game changer?

It is obvious OpenAI hopes to develop new revenue models by challenging for control of the search engine market and by extension Google’s substantial ad revenue.

Atlas has shown promise. The demonstration I saw highlighted the browser’s key features which will give it an edge over traditional browsers such as Google Chrome, Microsoft Edge, Firefox, and others. Unlike traditional browsers, Atlas has an embedded chat window, a sidebar that lets a user engage AI to summarise contents of the search results or analyse data without switching apps. The browser has an in-page editor. What that means is that a user can simply highlight texts, an email, a story, or a report and request ChatGPT to edit the highlighted portion and the editor goes to work immediately.

Atlas also has an agent mode, which if enabled can independently perform routine tasks for the user. For instance, Atlas can go shopping for a user or fill a form or perform other tasks from start to finish.

These features make browsing very convenient, intuitive, fast, and more exciting, and will no doubt boost productivity. A user can perform multiple tasks at once on Atlas without moving out of the window, something a user cannot achieve with traditional browsers.

Atlas versus Traditional browsers

Traditional browsers thrive on keywords to display search results. The search engine worms have been programmed to pick popularly used words, terms, and phrases, and so when a user searches for something, the worms pick contents containing those keywords or terms for display on the first two pages ahead of others. In other words, traditional search engines function well with keywords. This gave rise to search engine optimisation (SEO) skills, where SEO experts try to infuse keywords into their online contents to ensure the browser display their sites on the first page of a search result. Atlas is built differently. It’s very intuitive and function well on regular human language. So, for instance, while using Atlas, a user doesn’t need to know keywords or how to optimise such. The user can simply put a regular everyday term related to his search and Atlas will comb the web and bring the best possible results, not the site with the most optimised content.

Atlas is about conversation. The browser considers backlinks as secondary consideration while for a Google Chrome, links and search results are primary consideration and AI secondary. Because Atlas has inbuilt AI, it can help a user perform repetitive tasks, if enabled. It’s automated while traditional or legacy browsers aren’t.

How Atlas may rewrite the search engine scripts

The convenience, speed, multiple tasks functionality, and automation by Atlas may see it increasingly win markets from traditional browsers. And as the browser, gains momentum, we are likely to see other players introduce similar browsers.

Since the AI infused browser is indifferent to keywords and backlinks, content experts will begin to modify their contents to deemphasize keywords and craft them in line with the human conversational style favoured by Atlas. Organisations will also start to rethink their content strategy to ensure they write high quality content that will resonate with audiences as opposed to the current focus on ranking. It is such robust, relevant and high quality content that Atlas and others like it that will soon come on board will pick up and display the sites prominently.

With Atlas setting the pace, we may be about to witness a more interesting and exciting online content generation landscape devoured of keywords, SEO, and backlinks.