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Is there a reason to celebrate the 65th anniversary of Nigeria as an independent country? Some doubt it, mainly because of the many twists, turns and rocky rides. But, others contend that there are reasons to mark the landmark because the country has survived despite so many challenges that could have truncated the journey.

But, here we are.

The first indication that it would not be a smooth ride came soon after the Union Jack was lowered at the complex later named after the first Prime Minister, Alhaji Abubakar Tafawa Balewa. Chief Obafemi Awolowo could hardly hide his indignation in his memoirs as he recalled that he was tucked in a corner at the event, far away from where other main actors in the independence struggle sat. Pettiness at play.

Since the National Council of Nigerian Citizens (NCNC), one of the three major political parties opted to align with the Northern People’s Congress (NPC), leaving the Action Group (AG) in the lurch; it was obvious that some dirty fight lurked. Federal might was unleashed to dislodge the AG from the Western Region where it held sway, with a breakaway faction led by Chief Samuel Ladoke Akintola propped up to seize control.

The process started as early as 1962, when an externally-induced implosion was made to hit the AG like a dynamite. Soon after came the Coker Commission of Enquiry, the Treasonable Felony Trial, restriction and later jailing of the AG leader and founder, Chief Awolowo.

Those not blinded by partisanship knew going that route would not end well as Awolowo was a cult figure in the Western Region. Before the Federal Elections of 1964, the alliance between NCNC and NPC had disintegrated. Two broad alliances went into that election. The NCNC and the Akintola splinter group formed the Nigerian National Alliance (NNA) while the NCNC and AG formed the United Progressive Grand Alliance (UPGA). Obviously AG was the party of the Western Region, but the federal elections and the consequent regional election of January 1965 were ignobly rigged in favour of the NNA to dislodge the AG.

Politically, the trend has continued since then. Each election was hotly contested and rejected by the losers. It could hardly be said that, beyond electoral infrastructure put in place at so much cost, Nigeria has failed to mature on election matters over the years.

Apparently, for every action, there is a reaction. The manipulation of the polity led to the military coup of 1966. And, consequently, there was the pogrom, the counter-coup of July 1966 and the civil war that boiled over the following year. In the process, no institution of state was spared the accompanying desecration, including the military.

Although General Yakubu Gowon who was head of state when the war ended in January 1970 announced that there was ”no victor, no vanquished”, it was obvious that the Biafra secession bid had been quashed and there were consequences. Till date, the South East that sought to leave the union has continued to complain about marginalisation; at least politically.

Such political mistrust among the various parts of the country could not but have affected the economy, social relations, and thus, development. Insecurity, though diminished in some parts, is a concern in other parts of the country. In the North East, there is the Boko Haram and Ansaru insurgency that has raged for more than 16 years. It has claimed so many lives and herded many into poorly funded refugee camps. Happily, two kingpins of the groups have been nabbed. It’s progress.

It has spread to the North Central, especially in Plateau and Benue States, where some schools and targeted communities have not been spared. In the region, it took the form of religious intolerance, well-armed herders taking on farmers and wanton destruction of farms, homes and lives by terrorists. In the North West also, banditry and kidnapping have been the order of the day as enemies of state and criminals have continued to unleash their fury on the people. Kaduna State brandishes hope in the region and there may be a berth of peace in places like Zamfara and Katsina where there are still challenges.

In other parts of the country, the South West and South South, kidnapping for ransom has been on a lower scale. In all cases, the police and armed forces have recorded advances. Much work remains. The destruction of livelihoods has pushed more Nigerians into the poverty net.

Thus, until the Tinubu administration courageously came up with measures to check the periodic eruption of economic recession, it was as if successive governments, military or civilian, had no clue what to do. For two years now, the economy appears to have become stable, though it still has a long way to go.

The President said at the coronation of the Olubadan of Ibadan, Oba Rashidi Ladoja, last week, that the economy has turned the bend. But, has it really? The macro-economic indices suggest that it has, with headline inflation constantly heading South month-on-month for about half a year now, and the GDP recording sometimes record increase. But, it is yet to percolate to the common man who, therefore, finds it difficult to believe the authorities. It is expected that the result would be more visible in 2026.

The story of the nation since independence has been a talent of official squandermania and brigandage, with little vision to plan and save. The subsidy scam and currency manipulation brought the economy to a state where we borrowed to pay routine government bills. Hence the task of rescue before the Tinubu administration thst has headed off the economic apocalypse with his reforms.

Obviously, where the economy has been in the doldrums for so long, the health and education sectors could only have received some battering. Neither has received up to seven per cent allocation from the budget in the past 20 years. Political leaders express disgust for the local health institutions by patronising foreign hospitals for the most common ailments.

When seizing power from the Shagari administration in 1983, General Muhammadu Buhari described our hospitals as ”mere consulting clinics”. Not much has changed since then, compounded now by exodus of doctors, old and young, who have chosen to export their services to other lands. Nigerian students, too, sell whatever is available to obtain higher education abroad. Until of course, the NELFUND initiative offering loans to students of the poor.

It should not be all about lamentations about missed opportunities. A lot could be done to salvage the situation as there is unanimity of opinion among experts that Nigeria has an abundance of human and material resources to draw it out of the wood. It has a population, all of about 230 million, mostly young people who are energetic and forward looking, as against 30 million in 1960. This is an asset that most countries lack.

It also has so much solid minerals in all parts of the country, mostly waiting to be tapped. Those being tapped are by criminals and foreigners. Crude oil that has been a blessing to other nations has been largely doom to Nigeria, owing to poor management and monumental corruption. Of late, though, crude oil output has ticked up due to work by our armed forces to curb criminals stealing our black gold.

If corruption is checked and appropriate persons are employed to ensure that Nigeria joins the league of developed countries, in a short while, Nigerians would be proud of their country again and we can stand tall in the comity of nations. The Central Bank of Nigeria’s handling of foreign exchange, the salvaging of corrupt practices have diminished instances of corruption as attested to by our captains of industry.

Nigerians should realise that pulling in different directions cannot help them. As we move towards the seventh decade after independence, we should realise that we owe future generations, and indeed the black world a duty to redeem our dignity by killing corruption and tapping resources available for development.

As Walter Rodney said, ‘every generation must, out of relative obscurity, discover its mission, fulfill or betray it.’ The reforms of the Tinubu administration is showing promise on many levels beginning with financial engineering whose success can trigger a wholesale rebirth. For instance, not long ago, critics were jittery and even gloating that the naira would dive down to N2,000 to a dollar. Now it’s below N1,500. Not there yet, but a sign we can reclaim our country.

The President of the Lagos Chamber of Commerce and Industry (LCCI), Gabriel Idahosa, has said the nation’s key economic indicators are showing renewed signs of growth as the country marks its 65th independence anniversary, dahosa, however, in a statement yesterday, warned that the outlook required cautious optimism and sustained reforms.

He said the milestone offered both a moment of celebration and sober reflection on the nation’s economy and business environment.

‘Key indicators are showing some positive trends worth highlighting such as accelerating economic growth, productive recovery in the oil and gas sector, easing inflation, currency appreciation and strengthening external reserves,’ he said.

He noted that for the first time since 2020, the monetary authorities had eased interest rates to 27 per cent after a series of hikes triggered by inflationary pressures, while significant tax reforms were underway.

‘These developments create a cautiously optimistic business climate; one that offers opportunity but demands sustained policy discipline and private-sector agility,’ he added.

The LCCI president observed that the country’s improving macroeconomic backdrop presents both opportunities and challenges for businesses.

According to him, exporters and manufacturers can take advantage of stronger reserves and a relatively stable naira to manage foreign exchange exposures with greater certainty. Energy-related firms, he said, also stand to benefit from renewed activity in the oil sector.

‘At the same time, inflation remains high enough to squeeze consumer purchasing power and margins, while the transition to new tax rules will temporarily increase compliance costs and require careful cash-flow planning,’ Idahosa cautioned.

He urged the government to ensure a transparent and phased rollout of the new tax framework to reduce investor uncertainty. He also called for fiscal measures that target critical inputs, complementing prudent monetary policy to accelerate disinflation without eroding external reserves.

Idahosa said the country must strengthen local content in oil-sector projects to translate export gains into jobs and industrial development. He urged the Central Bank of Nigeria (CBN) to maintain open communication on foreign exchange policy to sustain market stability.

On the way forward, he emphasised the importance of deepening structural reforms to ease the cost of doing business, prioritising infrastructure investments, and accelerating industrialisation policies to boost manufacturing.

‘We expect to see the implementation of the 30 per cent Value-Addition Export Bill, passed by the National Assembly, and the Executive Order on Nigeria First Policy, to boost local manufacturing,’ he said.

According to Idahosa, enhancing policy consistency, regulatory compliance, and SME support would build investor confidence and drive economic transformation.

‘As we celebrate 65 years of nationhood, LCCI reaffirms its commitment to constructive advocacy, partnerships, and thought leadership in advancing Nigeria’s economic transformation.’

‘We remain confident that, with sustained reforms and collaborative efforts between the public and private sectors, Nigeria can unlock its immense potential and secure a prosperous future for its people,’ he added.

Afrobeats pioneer, Fela Anikulapo-Kuti didn’t just play music; he lived it. Fela is revered for creating the Afrobeat sound, drawing from diverse Afro-musical inspirations and genres. But, it wasn’t just about the beats – Fela’s lyrics, forged in Pidgin English, were often scathing critiques of corruption, oppression, and colonialism. He used his music as a weapon and his stage as a battleground.

Recently, Fela was inducted into the 2025 Grammy Hall of Fame for his classic 1976 album, Zombie. He is the first Nigerian artiste to receive the honour. The Recording Academy, organisers of the Grammy Awards, announced the inclusion in this year’s Hall of Fame selections.

The Zombie album merited the honour for the late Afrobeat icon and his family as part of the nominated works released for the past 25 years, not recent musical works.

It was released in Nigeria under Coconut Records in 1976 and in the UK by Creole Records in 1977. The classic album is now in the league of other notable musical works that earned the Grammy Hall of Fame induction. Other albums from Jay-Z, Michael Jackson, Santana, and Cat Stevens have since been included in the Grammy Hall of Fame.

Fela’s presence and his legacy has been honoured continuously over the years through contemporary showcases and exhibitions from Lagos to London, Germany, Brazil, France, Egypt and other countries.

This time around, Fela Anikulapo Kuti: Afrobeat Rebellion comes home. It will open in Lagos at the Ecobank Pan African Centre in October, bringing the acclaimed retrospective home in an expanded, community-driven format that merges art exhibition with performances, film, workshops, and children’s programming.

At the press conference held recently, the organisers disclosed that the exhibition which is free and open to the general public, will kick off on October 12th and ends on December 28th in Lagos.

It had in attendance: Laurent Favier, Consul General of the French Embassy; Emmanuelle Harang, Cultural Attaché of the French Embassy; The Kuti Family consisting Yeni Kuti, Femi Kuti, Seun Kuti, Made Kuti; Papa Omotayo, Creative Director, AWCA; Onoshiokhue Ako, AWCA Project Lead; Seun Alli, Curator, JCAA; Omoboye Odu, Ecobank representative.

Designed as an immersive journey through Fela’s life, music, and radical ideas, the exhibition layers archival objects, photography, soundscapes, and media installations that reconstruct spaces from Kalakuta to the Afrika Shrine-alongside an interactive global map of influence and furthers its programming to include a weekly ‘Legacy Programmes’ calendar (talks, live music, studio sessions, cinema, children activities)

This edition adds to the rich history of Fela exhibitions in Lagos, standing out for its unprecedented scale and ambition: it is the first to combine the curatorial depth of an internationally acclaimed European retrospective with the authenticity of a Lagos reimagining. More than an exhibition, it is a 12-week cultural programme designed to immerse audiences across generations and place Lagos at the centre of Afrobeats global story.

First staged at the Philharmonie de Paris in 2022, the exhibition was hailed as ‘a revolutionary tribute’ (Euronews), ‘an echo of Fela’s unrelenting voice against oppression’ (Radio France), and ‘a reminder that his Afrobeat remains as urgent as ever’ (Slate).

At the heart of Afrobeat Rebellion is a multi-room, archive-led experience that traces Fela’s musical and political trajectory through objects, photographs, film, and sound. Visitors move from early years to Lagos life, Kalakuta Republic, and the Afrika Shrine, with interactive spaces that connect his work to global movements

Speaking on why the exhibition will hold in Lagos, Seun Alli, Exhibition Curator, Founder JCAA said: ‘Too often, Fela is reduced to a handful of catchphrases and uninformed stories – Zombie, Water No Get Enemy, the Kalakuta fire, marrying 27 women, or even the unfounded claim that he performed on stage in his underwear.

‘Curating Afrobeat Rebellion in Lagos is a deliberate refusal of this flattening. It aims to reposition Fela not merely as a musician or rebel, but as a public intellectual whose music and philosophy are deeply intertwined with Africa’s social, political, and intellectual histories.

‘His work was never just style or spectacle; it was a catalyst of revolt and hope, the soundtrack for those living under oppression, corruption, and the daily failures of power.

‘Nearly three decades after his passing, it remains a profound mystery how Abami Eda’s philosophy continues to resonate so powerfully across all facets of our shared human experience.’

According to Laurent Favier, Consul-General of the French Embassy in Lagos, he said: ‘Supporting the Afrobeat Rebellion in Lagos reflects our belief that culture is a bridge. It is a logical and welcome follow-up to the successful exhibition in Paris.

‘This project is both a celebration of Franco- Nigerian collaboration and a cultural gift, honoring Fiela’s legacy – who was very appreciated in France while deepening the dialogue between our two nations.’

Favier said France was honoured to support a high-quality tribute to Fela.

‘France has always been a heartland for Fela Kuti, supporting not only his music but also his activism. In the 1980s, he struck a chord with the times and fascinated the French press, which was the first to talk about the ‘Fela phenomenon’

‘These ties continue with his talented family; Femi, Seun, Made, and others,’ Favier said.

He explained that the exhibition was originally conceived by the Philharmonie de Paris – Cité de la Musique in 2022 and curated by French and Nigerian experts. According to him, the Paris edition drew wide acclaim, attracting 60,000 visitors within a month.

‘It was a true exercise in collective and intercultural intelligence, which enriched this Lagos edition. With more archives, resources and the strong involvement of the Kuti family, the experience promises to be even more dynamic.’ he said.

For Kuti Family, they unanimously agreed that their father’s legacy has travelled the world, but Lagos was always its heartbeat.

‘Afrobeat Rebellion brings things unseen, his music, and everything Fela stood for to his people in Lagos. Not just to remember Fela, but to inspire a new generation to use art as resistance and freedom,’ the family said.

Fela’s son, Femi Kuti, appreciated the organisers for honouring his father.

‘We are glad that Fela is still recognised, appreciated, and honoured. As the years went by, people still understood what he stood for,’ he said.

According to the organisers, the exhibition highlights are as follows: ‘Opening Night – Sun, Oct 12: First viewing + performances featuring Ezra Collective and Seun Kuti; The Exhibition (Afrobeat Rebellion) – Archival rooms spanning Fela’s Early Years, Lagos Life, Kalakuta Republic, Afrika Shrine, Library and Jukebox, Life on Tour, Legacy, Mapping Fela.

‘Legacy Programmes – Weekly live music, The Talks panels, Kalakuta Cinema, Studio Sessions, Young Rebels Corner (6-15), workshops, and city-facing activations.’

Beyond the exhibition walls, Afrobeat Rebellion will unfold as a living festival of culture: ‘The Talks – a 10-topic series on Fela’s ideas and impact with leading voices from Yeni Kuti to Prof. Oyeronke Oyewumi, Femi Falana, Ade Bantu, Minna Salami, and Kadaria Ahmed, exploring themes such as The Unfiltered Fela, Afrobeat In The Making, Fela’s musical evolution, and much more.

‘Live Music – Opening night with Ezra Collective and Seun Kuti, to performances by Femi and Made Kuti, and collaborations with contemporary artists and industry players, and producers like Sodi Marciszewer, Chike, A, YKB, and Vaedar, the sound of Afrobeat will be celebrated and reinterpreted.

‘Kalakuta Cinema – A 6-week film series featuring classics like Music Is a Weapon, The Lost Okoroshi, Mami Wata, Timbuktu, and Finding Fela. Screenings will take place in relaxed communal spaces and traditional settings every other Sunday; Book reading with Karatu – book titles include: Kalakuta Republic (Chimurenga) + select speeches, Dis Fela Sef! By Benson Idonije, Funmilayo Ransome Kuti, and Arrest the Music by Tejumola Olaniyan –

‘Young Rebels’ Corner – An interactive creative space for children aged 6-15 with activities like the Rebel Scrapbook, Jam Station, and Anikulapo Design Workshop. Every child leaves with a Rebel Name and ID card, a symbolic passport into the world of protest and creativity.

The workshops and interactive programmes will feature: ‘Manifesto: The Weapon of the Future (a zine-making writing workshop); Òrò Abamì Spoken Word Competition; Dance of Resistance (movement workshops led by The Mud Art Company)

Together, these programmes make Afrobeat Rebellion not just an exhibition, but an immersive cultural season for Lagos and the world.

According to Onoshiokhue Ako, Project Lead, Culture Producer, AWCA, the exhibition seeks to create a cohesive experience that resonates across generations.

Ako appreciated the Kuti family for their invaluable support and contributions to the project.

‘For us, Afrobeat Rebellion is more than an exhibition. It is a living season of culture. We designed it to bridge generations: from the children creating in the Young Rebels’ Corner to the elders who remember Fela firsthand, and everyone in between.

‘Our programmes are grounded yet far-reaching, and Lagos deserves nothing less than a homecoming of this magnitude.

‘We thank the Philharmonie de Paris for their deep reverence for Fela’s music. They pioneered this significant cultural exhibition, which has now expanded into what we have here.

‘To Ecobank, our host and home for three months, we are grateful. You stand as a true African centre, a home and a symbol of the continent’s cultural and economic ambition,’ she said.

Fela wasn’t just a musician; he was a force of nature, a revolutionary, and a voice for the voiceless. No doubt, the impact of Fela who died on August 2, 1997 at the age of 58 would continue to reverberate globally.

Founder, Tony Elumelu Foundation, Tony Elumelu and Archbishop of New York, Cardinal Timothy Dolan have received the 2025 Appeal of Conscience Award in New York.

The Award, presented annually by the Appeal of Conscience Foundation (ACF), recognises individuals whose leadership embodies tolerance, religious freedom, and human dignity.

Elumelu was represented at the event by Dr. Awele Elumelu, Co-Founder, Tony Elumelu Foundation.

Tony Elumelu stands as a beacon of ethical entrepreneurship and visionary leadership. Business can be a powerful force for peace, stability, and human dignity. His commitment to uplifting others is a living example of conscience in action.’ – Founder of Appeal of Conscience Foundation

The Appeal of Conscience Foundation (ACF) has chosen to honor Tony Elumelu and Cardinal Dolan because they personify moral leadership and global responsibility that ACF stands for. Their works in faith, community, and economic empowerment remind us that progress and conscience go hand in hand. – Appeal of Conscience Gala Chair, Brian Moynihan, Chair and CEO of Bank of America.

Elumelu said: ‘As you know, my husband, Tony Elumelu, cannot be here tonight.’

Tony would clearly have liked to be here, and I represented him this evening to pass on his gratitude, best wishes and his heartfelt words: It is an honour to receive this award; one that deeply resonates with my personal values, and it is a privilege to be associated with the legacy represented by the Appeal of Conscience Foundation and Rabbi Arthur Schneier’.

‘It is with a heavy heart, weighed by recent and profound loss, that I accept this award. Just a few days ago, we lost six beloved colleagues in a tragic incident. They were family, friends, mothers, sons, and daughters, hardworking individuals, who were dedicated to building a better Africa. Their absence leaves a void that cannot be filled,’ he said.

‘Humanity first: that has been the core of my life, what keeps me up at night: how can we transform lives across Africa? How do we leave a legacy that uplifts people and creates opportunity for everyone? I was not born with a silver spoon, I was not educated abroad, I inherited nothing,’ Elumelu said.

He said he was blessed with determination, but also luck.

‘That determination, and that luck have brought material success. I have been rewarded with a wonderful family, with privileges, with the capacity to bring about change. The American tradition of philanthropy, the tradition we see so clearly in this room today, has always inspired me. The great names that built America in the Gilded Age, the new generation that have endowed universities, research and culture.

‘My businesses span four continents; we employ over 40,000 people – including here in New York – where we have the United Bank for Africa (UBA), the only African bank that can take deposits in the United States of America. I believe in the power of the private sector. This is the core of the philosophy I call Africapitalism,’ he added.

He said that at Heirs Holdings, when investments are made in energy and power, it is a mission to light up homes, schools, and hospitals.

‘When we create value in the financial services industry, we drive inclusion, offering the underrepresented a stake in the economy. And through the Tony Elumelu Foundation, a personal commitment we made in 2010, we have identified, trained, mentored, and provided over $100million in seed funding to over 24,000 young African entrepreneurs from all 54 African countries,’ he said.

‘I dedicate this award to the thousands of Africapitalists across the African continent who relentlessly create the Africa we envision; the young entrepreneurs, innovators, and my colleagues across Heirs Holdings Group who are working tirelessly, often against great odds, to create a better future, to improve lives and transform Africa,’ he stated.

A new winner of the Lekki Scrabble Classics has emerged as Abdulmumin Jimoh strode through the field to clinch the one million naira cash prize and a trophy in the Premier Division while Bukunmi Afolayan picked the Championship title at the end of the two-day championship over the weekend.

Both winners engraved their names on their respective trophies in Round 17 with a game to spare.

Jimoh sustained his push for the title and averted the ‘Day One Champion’ curse where a leader fails to continue his run as he maintained his focus and confidence on Table One where he played mostly.

He ramped up the title with 14 wins, 4 defeats and +1569 ahead of John Ayedun (12-6, +820), David Ojih (12-6, +475), Larry Etuwa ( (12-6, +421) and Khaleel Adedeji ( (12-6, +217) in the top five

His devastating form in recent times has propelled him to top podium finish at the Bubble International Scrabble Tournament and the National Sports Festival where he represented Ogun State.

He said: ‘I’m quite excited with this victory at Lekki Scrabble Classics 2025. It was a tough tournament but hard work and continuous training played a key role.I want to appreciate Cyril Umebiye who is my best captain ever and the Ogun State Scrabble family.

‘This tournament is one of the toughest having to compete with players from different countries. I commend Lekki Scrabble Club for giving us one of the best tournaments in Africa.’

Rave of the moment and Best World Best Youth Female Player Sophia Ekeruche rattled the Championship Division with her dexterity on the board but the more experienced Bukunmi Afolayan halted her run as she finished second with 13½ points and a +1239 cumulative points.

The Ogun State based Amazon claimed the coveted title with 16 wins and +1357.

One of the highlights of the tournament was the strong proposition presented by the youth players who created some buzz and unsettled the older players.

Lekki Scrabble Club President Samuel Anikoh in his closing remarks commended every participants as well as all sponsors on the successful conclusion of the tournament.

He stated that the Club’s direction is focused on developing the sport at the school level just like the way it supported some youth who have been successful at world level.

Various deserving players were presented with cash prizes and plaques at the colourful closing ceremony.

Players from Ghana, Uganda and United Kingdom participated at the annual scrabble showpiece.

Uche Aghulor’s journey from a local choir to international acclaim is a story of technical mastery and a mission to elevate African classical music on the world stage. Her journey, which has taken her from Lagos to Athens, London, Rome, and now the United States, underscores the power of persistence and cultural pride in a field long dominated by Western traditions.

She first became enthusiastic about music as a child when she joined the church choir, where she discovered harmony, vocal discipline, and the profound joy of moving people through song. That early foundation became the springboard for a remarkable journey that has transformed her into one of Nigeria’s most celebrated musical voices abroad, a versatile artist admired for her ability to fuse deep cultural identity with masterful artistry.

Her career now embodies a dynamic range of roles, from soloist and teacher to choir and artistic director, all united by her unwavering pursuit of musical excellence.

‘The church has always been at the center of my musical journey. I started as a choir girl from a young age, and somehow that part of me remained alive.

‘Those early years in the choir taught me the fundamentals of singing and the importance of emotional connection in performance. The discipline, joy, and sense of purpose I found there still guide me today,’ the internationally recognised singer from Delta State noted.

Aghulor reflects on how her early experiences taught her to find profound meaning in music-a principle that now drives her dedication to promoting music deeply connected to her cultural roots. For a start, her pursuit of musical and academic excellence eventually took her to the University of Notre Dame in the United States, where she earned a Master of Sacred Music on a full scholarship and graduate assistantship.

According to her, she chose Notre Dame for its strong academic reputation, commitment to sacred music, and supportive community. ‘I was particularly drawn to Notre Dame because of the community there, and I knew that was something I needed in a foreign country,’ Uche said.

She explained that her attraction to the Sacred Music programme came from the fact that the church has always been central to her artistic life. While at Notre Dame, she immersed herself in studies that broadened her understanding of different genres and performance practices.

As the youngest of seven children born to Dr. Samuel and Lady Philomena Aghulor, Uche learnt to view spirituals, African art music, opera, and choral music as living traditions with profound cultural significance rather than merely as performances. ‘I am a better musician and artist as a result of the programme. I developed a deeper understanding and appreciation for choral music, opera, African art music, spirituals, and other forms of vocal music,’ she told The Nation.

An historic first performance

Driven by a hunger for knowledge that extended far beyond the shores of Nigeria, Uche found herself at the University of Notre Dame. Her years there were crowned with a historic honour when she became the first Nigerian in decades to lead the singing of the Alma Mater at the inauguration of the University’s President, Reverend Bob Dowd.

This was a singular privilege, Uche said, as such an inauguration occurs perhaps only once every twenty years, making her selection for the role profoundly significant. ‘We have an abundance of talent at Notre Dame, but for someone like me to have that responsibility is a testament to the institution’s values of fostering a sense of community while striving for excellence,’ she said.

The renowned soloist and artistic director described the moment as a powerful reaffirmation of her belief in the importance of representation. ‘For people to see a Nigerian woman in that position meant more than words can express,’ she said.

Eager to build on her success at Notre Dame, Uche set her sights on a larger global stage, enrolling in a Doctor of Musical Arts (DMA) programme at James Madison University, which she attended on a full scholarship and graduate assistantship.

‘This next chapter will position me for a university-level teaching position, which complements my performance career and cultural advocacy work. As a Nigerian soprano, I want to contribute significantly to the performance practice of classical music,’ she said.

She stressed that the integration of African art music into mainstream classical programming is another area she will be investigating in her dissertation study and performance practice. Beyond the classroom, however, Aghulor has established a stellar academic history. For instance, she has appeared internationally in Athens, London, and Rome, and has performed as a soloist in major works such as Handel’s Messiah and Mascagni’s Cavalleria Rusticana.

In Rome, she presented Nigerian folk tunes to a European audience, an experience she described as deeply rewarding. ‘It was a wonderful experience. The audience responded really well, and it makes me happy knowing people enjoy our art songs both at home and abroad,’ she recalled.

According to her, she sees every international performance as both a musical and cultural exchange. ‘Each time I perform abroad, I feel like I am carrying my heritage with me. It is an opportunity to tell our story through music,’ she said.

Notably, Uche has since discovered an ingenious approach to blending Western classical techniques with African cultural expressions in her performance. According to her, ‘The key is understanding that both (Western classical techniques and African cultural traditions) share fundamental musical principles, including rhythmic complexity, melodic development, and harmonic progression. Expressing them through different cultural lenses creates a huge distinction.’

This fusion, she noted, allows audiences to experience the familiar and the new at once. ‘When people hear an African melody supported by classical harmonies, they are intrigued, and that opens the door for deeper appreciation,’ she said.

In addition to her performance career, Uche also plays a leading role in the Pan-African Art Music Initiative, which promotes African composers and musical traditions on international stages. Justifying the role, she said: ‘There is a need for more African voices to be heard in the classical music world.

‘Events like festivals are opportunities to learn and to impact as well. People are curious, and we have the responsibility to give the best representation of our musical culture as performers or composers.’

She added that the Pan-African Art Music Initiative also works to ensure African art songs are performed with the same technical mastery and respect given to Western works.

In her role as an educator and voice coach, Uche utilises an inclusive pedagogical approach, informed by her experience teaching students from diverse musical backgrounds in both Nigerian and American institutions. Her methodology is centred on the core principles of building confidence, fostering inclusion, and prioritising growth over technical perfection.

‘I teach my students to believe in themselves and to feel included. Differences in musical background can help identify technical skills already developed and ultimately adapt or expand the student’s performance,’ she explained.

One of her guiding principles is prioritising progress rather than flawless execution. ‘I used to tell my students in Nigeria to choose growth over perfection. Perfection is an illusion and what matters is being better than you were yesterday. I am most fulfilled seeing growth and knowing I have contributed to it in some way,’ she stated.

Her teaching is deeply informed by her own cross-cultural journey, allowing her to tailor lessons to each student’s needs. ‘Some of my students have never heard African art music before they met me. By the time they graduate, they’re singing it confidently and understanding its depth,’ she shared, beaming with a smile.

She also said she embraces teaching as a two-way exchange. ‘I learn from my students every day. They challenge me to think differently and to keep improving my methods,’ she said

In spite of her remarkable exploits and successes, Uche admitted that African classical musicians face steep institutional and economic barriers to accessing global platforms, pointing out, for instance, that Africa has abundant talent and creative vision, but these assets are constrained by limited access to world-class training and professional development ecosystems concentrated in Europe and America.

‘In Nigeria specifically, musicians encounter significant obstacles in marketing classical music, securing high-quality instruments, and maintaining reliable electricity for rehearsals,’ she said, adding that there are systemic bias in concert programming

‘Indigenous compositions and African art songs frequently receive insufficient commitment and technical mastery,’ she said, pointing out, however, that ‘Addressing this inequity is central to my artistic mission.’

As part of Uche’s artistic mission, her recording career offers another platform for connection. She recently released a single titled Holy, available on major streaming platforms, and is planning further releases, including collaborations with contemporary artists.

‘Classical training gave me solid grounding in how the voice functions and core musical fundamentals. But I don’t see this education as something that should distance me from people, quite the opposite. It helps me communicate more clearly. My aim is to show that classical skills can beautifully support and elevate music from any cultural tradition,’ she explained.

Uche added that working with contemporary musicians allows her to reach younger audiences who may not be familiar with classical music, creating a bridge between genres. She, however, admitted that life abroad has not been without challenges.

Among the hardest cultural adjustments she faced when moving from Lagos to Indiana was the distance from family. Beyond missing important events, Uche explained she had to acclimatise to unfamiliar weather, food, and social customs. ‘I had to rebuild my support network from the ground up, which was a challenge for someone who draws strength from close personal ties.’

She credited her successful adaptation to maintaining an open mind toward cultural differences and an unwavering dedication to her professional and personal responsibilities.

While she identified most naturally with the role of a soloist, she clarified that her artistic ambitions extend far beyond the spotlight of personal performance.

‘My aspiration is to demonstrate that excellence and impact are possible anywhere, irrespective of one’s cultural background or place of origin.

‘I want to be known for expanding horizons, helping audiences appreciate the depth of African musical heritage, and showing Nigerian students the breadth of opportunities available to them.

‘Through my role as an educator, I hope to have created opportunities and cleared pathways that make the journey easier for others. That, for me, will be the true measure of success,’ she added.

Stanbic IBTC Insurance, a subsidiary of Stanbic IBTC Holdings has launched the Manifold Endowment Plan, an innovative blend of insurance and investment designed for Nigerians who want to protect what matters, grow their wealth, and enjoy peace of mind.

With life cover up to N1 billion, partial maturity payouts, and end-of-term bonuses, Manifold is for the modern Nigerian working hard today, planning boldly for tomorrow.

The Manifold Endowment Plan is uniquely designed for Nigerians aged 18 to 64, providing them with flexible policy durations ranging from six to fifteen years. At its core, it integrates death benefits, partial maturity bonuses, and accidental medical coverage, all while offering a structured avenue for individuals and families to plan, protect, and prosper.

Speaking on the launch, Akinjide Orimolade, Chief Executive, Stanbic IBTC Insurance said the Nigerian insurance sector, though still underexplored, has seen remarkable growth, with industry revenues surging by 147per cent in the first nine months of 2024. Yet, with insurance penetration hovering around just 0.5per cent of GDP, the gap in uptake remains stark.

He noted that Stanbic IBTC is tackling this head-on by introducing an offering that speaks to the everyday concerns of middle- and high-income Nigerians who seek value, reliability, and transparency in financial services.

He said: ‘The Manifold Endowment Plan is a response to Nigeria’s pressing need for accessible and rewarding insurance solutions. We are not just offering protection; we are empowering Nigerians to build financial resilience while preparing for the future. With Manifold, every premium is an investment in both peace of mind and real financial return.

‘Manifold bridges the perception gap often associated with insurance. It assures Nigerians that even if the ‘worst’ doesn’t happen, their money is never wasted. With premiums starting at just N10,000 monthly, policyholders can earn two 25per cent bonuses on their premiums while still receiving 100% of their chosen sum assured at maturity.

At its core, the Manifold Endowment Plan aligns with Stanbic IBTC Insurance’s broader mission: to help Nigerians secure today and prosper tomorrow. Whether it’s a young professional saving towards future goals, a parent building generational wealth, or a retiree seeking peace of mind, Manifold offers a tailored and transparent financial solution”, he added.

President Bola Ahmed Tinubu has declared that Nigeria is ‘racing against time’ to address decades of underinvestment in power, roads, and infrastructure.

In his 65th Independence Anniversary broadcast on Wednesday, the President defended his administration’s tough reforms, including the removal of fuel subsidy and unification of foreign exchange rates, insisting that the country has ‘turned the corner’ towards recovery.

Tinubu acknowledged the hardship Nigerians are facing but assured that his government is channelling resources into education, healthcare, security, and critical infrastructure to secure a prosperous, self-reliant future.

The University of Arkansas, Fulbright College of Arts and Sciences’ School of Art hosted internationally acclaimed artist and scholar Prof Peju Layiwola for a two-day workshops culminating in a student fashion show. The show, which was held last Thursday at the School of Art’s Studio and Design Center lobby featured no fewer than 125 students who modeled the clothing made by the participants and from Layiwola’s fashion line. It also featured varieties of Nigerian food.

The fashion show marks the end of a weeklong resist-dyeing workshop series, where students from across disciplines will study àdìr?, a centuries-old Yoruba textile tradition from southwest Nigeria. Their finished creations made debut on the runway alongside designs by Layiwola and by Edward Osei, a University of Arkanasas art education master’s student from Ghana.

Participants learned the entire batik process, from making foam stamps, to producing designs with wax, to dyeing, and dewaxing. Participants also learned about adire eleko and adire oniko.

According to Prof Layiwola, the initiative is to help the students learn about other textile cultural practices, engage with a genre that would illuminate their art practice, and great satisfaction from the university community. The programmes refreshing and some ‘think that this should be annual event. Students were thrilled at the experience, which they thought was unique,’ Layiwola added.

Layiwola, professor of art and art history at the University of Lagos and Mellon Curatorial Fellow at the Stanley Museum of Art at the University of Iowa, is recognised as a leading voice in African art and material culture. Her career includes numerous awards, grants and fellowships, as well as ties to Arkansas through the 2020 Ambassador of Goodwill Award from the state of Arkansas and the 2019 Tyson Scholar Fellowship at Crystal Bridges Museum of American Art. Layiwola’s work is also represented in major collections, including Microsoft Lagos, the Yemisi Shyllon Museum at Pan Atlantic University and with private collectors such as JP and Ebun Clark and Hs Royal Majesty Nnaemeka Achebe, the Obi of Onitsha.

Assistant Professor of art history, Janine Sytsma, noted that these events demonstrate how the school is providing students with unique opportunities to engage with a respected artist and to learn firsthand a resist-dyeing tradition from southwest Nigeria. ‘Through this workshop,’ she explained, ‘students gain knowledge of Yoruba textile design that will enrich their development as artists, scholars, educators and designers.’

Layiwola’s visit is a collaborative effort between the school’s art history and art education programs, demonstrating their shared commitment to interdisciplinary, experiential learning in arts scholarship and practices. Kathy Brown, director of graduate studies in art education and endowed assistant professor of art education, noted, ‘Art education is excited to collaborate with art history to bring Prof. Layiwola’s workshops to our students. We are looking forward to participating in cultural traditions and situate the workshops’ themes and experientiality within the wider arts-based research discourse.’

John Blakinger, art history programme director, explained that the School of Art is a hub where local and worldwide art practices converge, calling the events prime examples of how the school engages in meaningful outreach, ‘Her visit reflects the global reach of our program and demonstrates how we connect local partnerships – such as with Crystal Bridges – with international, cross-disciplinary projects that strengthen the arts in Arkansas.’

The Coalition of Farmers Association of Nigeria (COFAN) and the Himma Youth Farmers Association of Nigeria (HYFAN), have raised concerns that the restructuring of the Presidential Fertiliser Initiative (PFI) by the Federal Government could lead to a sharp increase prices, that could threaten the productivity of smallholder and youth farmers.

The groups commended President Bola Ahmed Tinubu for his agricultural reforms and programmes aimed at boosting food security, farmer empowerment, and youth inclusion.

However, they warned that the new direction of the PFI risks undermining the progress achieved earlier.

‘The PFI was a cornerstone of Nigeria’s agricultural transformation, ensuring affordable fertilizer through raw material importation and support for local blending plants. Millions of farmers benefitted from this intervention, which strengthened food production and national food security,’ Bamai said.

The farmers’ associations urged President Tinubu not to abandon the importation of raw materials until local production is capable of meeting national demand.

They also called for the Ministry of Finance Incorporated (MOFI) to continue managing importation, arguing that this would guarantee efficiency, transparency, and stability in the supply chain.

‘Nigerian farmers cannot afford a disruption in fertilizer supply at this critical moment. We deeply appreciate your reforms, but we appeal: do not kill the legacy of Buhari’s agricultural transformation on fertiliser access.’

Sustain raw material importation until Nigeria’s local capacity is ready,’ Bamai stressed.

While reaffirming their commitment to work with the government, private sector, and development partners to ensure the success of the restructured PFI, COFAN and HYFAN insisted that protecting farmers in the short term is essential to securing Nigeria’s long-term food security.