Connect with us

celebrity radar - gossips

Meet Peju Oshin and three other women pushing Nigerian art – Toni Kan

Published

on

Peju Oshin

Meet Peju Oshin and three other women pushing Nigerian art – Toni Kan

Peju Oshin

The announcement of London based curator, writer and lecturer Peju Oshin as Associate Director at the Gagosian Gallery is an important one, highlighting as it does, the giant strides young Nigerian women are making on the global art scene.

Young, talented and driven, Ms. Oshin with a background in architecture made her art world entrée in 2015 and in the intervening yawn of time, has worked at the Tate as Curator: Young People’s Programmes. During her time at Tate, Peju Oshin who has expressed a deliberate concern and focus on the “marginalised” delivered “exciting and ambitious projects in support of young and emerging artists, as well as cultural leaders across the arts community” according to the statement announcing her appointment.

 

 

Continuing, the statement notes that in her new role, Peju Oshin is expected to continue to “promote the visibility of artists from both the global majority and those who identify as people of color through our own programming as well as within the greater arts ecosystem in London.”

Her move from the Tate, a bastion of the UK art establishment to the Gagosian Gallery, a commercial stronghold and home to some of the most influential artists of the 20th and 21st century while a testament to her talent and experience positions her as an emergent cultural powerhouse poised to expand the universe of opportunities open to usually marginalized artists.

 

 

 

Ms. Oshin is chairman of the Peckham Platform, an Associate Lecturer at Central Saint Martins and on the judging panel of Association of Women in the Arts (AWITA) London and JW Anderson partnership programme of exhibitions and interventions of female artists. She was shortlisted for the Forbes 30 Under 30 Europe list in the Arts & Culture category in 2021.

Adenrele Sonariwo started off as an accountant and had a four year stint at PricewaterhouseCoopers after graduating from Howard University. The art bug soon bit and her first salvo was a pop-up art university called The Modern Day School of the Arts (MDSA).

 

 

 

 

Conceived in 2010, Rele gallery did not take off until 2015 and it quickly made a splash opening up the space to a younger and hipper generation of Nigerian art connoisseurs and collectors. The Young Contemporary programme facilitated by the Rele Art Foundation has also created a pipeline for talented and wave making contemporary artists like Tonia Nneji, Chidinma Nnoli, Marcellina Akpojotor, David Otaru and IyunOla Sanyaolu.

Ms. Sonariwo was the lead curator of the first Nigerian pavilion at the 57th Venice Biennale and served as jury member at Dak’art Biennale in 2018, the same year she was listed by Vogue as one of the “Five Coolest Women in Lagos”

 

 

 

Having built Rele into an iconic Nigerian brand, Ms. Sonariwo has embarked on global domination with a move to America where Rele became the first contemporary African art gallery to set down roots in Los Angeles. Speculation is rife that a Rele London is in the works.

Ugoma Adegoke started her career as a financial analyst in oil and gas before gaining some work experience in real estate, Trained in economics, business and finance, Ugoma has made a career out of pivoting as a serial entrepreneur, a veritable Jane of all trades and mistress of all.

 

 

 

The LifeHouse, her first enterprise was an event center, art gallery, restaurant, yoga spot and more rolled into one. Her next venture was in fashion and design with the launch of Zebra Living. Deploying artistic expression for social impact saw her launching and playing the role of Festival Director for the Lights, Camera, Africa…film festival. Ugoma has added new feathers to her cap as gallerist, curator and tastemaker with her latest venture BLOOM Art, a portfolio gallery and private art salon set in the heart of Victoria Island, Lagos.

As founding director and chief curator at BLOOM Art, Ugoma has curated and produced art exhibitions with some of the most exciting and accomplished modern and contemporary artists including Muraina Oyelami, Tam Fiofori, Lemi Ghariokwu, Victor Ehikhamenor, to name a few. In 2007, she organised and curated a major exhibition of Professor Obiora Udechukwu’s works – his first showcase in Nigeria in over 20 years.

 

 

 

In December 2016, she was invited to Paris to speak at the Africa-focused conference of Comité Colbert, France’s premier cultural & luxury association while in May 2017, she was named an Ambassador of The African Art at the Venice Forum during the opening of the 57th Venice Biennale.

In February 2021, despite the Covid-19 pandemic and sluggish global economy Ugoma and Bloom Art originated, advised and executed the biggest private secondary market art sale and placement yet in Nigeria; the sale of Ben Enwonwu’s “Bonita”, valued at $1million thus making her and her gallery, the first Nigerian independent curator and dealer to successfully sell and place a modern art piece of such repute and value – a feat only previously achieved by international auction houses.

 

 

 

Tokini Peterside-Schwebig has put Nigerian art squarely on the global art map with Art X, her annual art festival, which launched in 2016 and quickly became “West Africa’s first and leading international art fair” one that has been hailed by the Financial Times as “a reflection of Nigeria’s potential on the global scene.”

Tokini has parlayed knowledge gained and skills acquired from a first class degree in Law from the LSE, an MBA from INSEAD and stint as head of Marketing at luxury brand Moët-Hennessy to build Art X into a reputable cultural festival.

 

 

 

Art X has become a major fixture on Africa’s culture calendar, pulling in over 80,000 visitors in just five years and highlighting the works of major African and diaspora artists while signposting Lagos in the global imagination as an emergent culture capital.

Undrlining her chops as a culture impresario, Tokini set up ART X Live! as an “accelerator for rising musicians and artists” while the ART X Prize has become Nigeria’s “leading award for visual artists.”
In 2018, Tokini and Art X were tapped to organize a special contemporary art exhibition in honour of visiting French President, Emmanuel Macron. The exhibition held at the New Afrika Shrine.

 

 

Named one of the 40 Under 40 in Africa by Apollo in 2020, Tokini serves on the boards of Yinka Shonibare’s GAS Foundation and EMOWAA (the Edo Museum of West African Art) among others.
Toni Kan is a Lagos based writer.

Continue Reading
Advertisement

celebrity radar - gossips

Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”

Published

on

Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”. By George Omagbemi Sylvester | Published by SaharaWeeklyNG.com

Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”.

By George Omagbemi Sylvester | Published by SaharaWeeklyNG.com

 

Former President Goodluck Jonathan’s birthday visit to Gen. Ibrahim Badamasi Babangida (IBB) in Minna (where he hailed the octogenarian as a patriotic leader committed to national unity) was more than a courtesy call. It was a reminder of a peculiar constant in Nigerian politics: the steady pilgrimage of power-seekers, bridge-builders and crisis-managers to the Hilltop mansion. Jonathan’s own words captured it bluntly: IBB’s residence “is like a Mecca of sorts” because of the former military president’s enduring relevance and perceived nation-first posture.

Babangida turned 84 on 17 August 2025. That alone invites reflection on a career that has shaped Nigeria’s political architecture for four decades; admired by some for audacious statecraft, condemned by others for controversies that still shadow the republic. Born on 17 August 1941 in Minna, he ruled as military president from 1985 to 1993, presiding over transformative and turbulent chapters: the relocation of the national capital to Abuja in 1991; the creation of political institutions for a long, complex transition; economic liberalisation that cut both ways; and the fateful annulment of the 12 June 1993 election. Each of these choices helps explain why the Hilltop remains a magnet for Nigerians who need counsel, cover or calibration.

 

A house built on influence; why the visits never stop.

 


Let’s start with the obvious: access. Nigeria’s political class prizes proximity to the men and women who can open doors, soften opposition, broker peace and read the hidden currents. In that calculus, IBB’s network is unmatched. He cultivated a reputation for “political engineering,” the reason the press christened him “Maradona” (for deft dribbling through complexity) and “Evil Genius” (for the strategic cunning his critics decried). Whether one embraces or rejects those labels, they reflect a reality: Babangida is still the place where many politicians go to test ideas, seek endorsements or secure introductions. Even the mainstream press has described him as a consultant of sorts to desperate or ambitious politicians, an uncomfortable description that nevertheless underlines his gravitational pull.

Though it isn’t only political tact that draws visitors; it’s statecraft with lasting fingerprints. Moving the seat of government from Lagos to Abuja in December 1991 was not a cosmetic relocation, it re-centred the federation and signaled a symbolic neutrality in a country fractured by regional suspicion. Abuja’s founding logic (GEOGRAPHIC CENTRALITY and ETHNIC NEUTRALITY) continues to stabilise the national imagination. This is part of the reason many leaders, across party lines, still defer to IBB: he didn’t just rule; he rearranged the map of power.

 

Then there’s the regional dimension. Under his watch, Nigeria led the creation and deployment of ECOMOG in 1990 to staunch Liberia’s bloody civil war, a bold move that announced Abuja as a regional security anchor. The intervention was imperfect, contested and costly, but it helped define West Africa’s collective security posture and Nigeria’s leadership brand. When neighboring states now face crises, the memory of that precedent still echoes in diplomatic corridors and Babangida’s counsel retains currency among those who remember how decisions were made.

Jonathan’s praise and the unity argument.
Jonathan’s tribute (stressing Babangida’s non-sectional outlook and commitment to unity) goes to the heart of the Hilltop mystique. For a multi-ethnic federation straining under distrust, figures who can speak across divides are prized. Jonathan’s point wasn’t nostalgia; it was a live assessment of a man many still call when Nigeria’s seams fray. That’s why the parade to Minna continues: the anxious, the ambitious and the statesmanlike alike seek an elder who can convene rivals and cool temperatures.

The unresolved shadow: June 12 and the ethics of influence.


No honest appraisal can skip the hardest chapter: the annulment of the 12 June 1993 election (judged widely as free and fair) was a rupture that delegitimised the transition and scarred Nigeria’s democratic journey. Political scientist Larry Diamond has repeatedly identified June 12 as a prime example of how authoritarian reversals corrode democratic legitimacy and public trust. His larger warning (“few developments are more destructive to the legitimacy of new democracies than blatant and pervasive political corruption”) captures the moral crater that followed the annulment and the years of drift that ensued. Those wounds are part of the Babangida legacy too and they complicate the reverence that a steady stream of visitors displays.

Max Siollun, a leading historian of Nigeria’s military era, has observed (provocatively) that the military’s “greatest contribution” to democracy may have been to rule “long and badly enough” that Nigerians lost appetite for soldiers in power. It’s a stinging line, yet it helps explain the paradox of IBB’s status: the same system he personified taught Nigeria costly lessons that hardened its democratic reflexes. Today’s generation visits the Hilltop not to revive militarism but to harvest hard-won insights about managing a fragile federation.

What sustains the pilgrimage.
1) Institutional memory: Nigeria’s politics often suffers amnesia. Babangida offers a living archive of security crises navigated, regional diplomacy attempted, volatile markets tempered and power-sharing experiments designed. Whether one applauds or condemns specific choices, the muscle memory of governing a complex federation is rare and urgently sought.

2) Convening power: In a season of polarisation, the ability to sit warring factions in the same room is not small capital. Babangida’s imprimatur remains a safe invitation card few refuse it, fewer ignore it. That convening power explains why movements, parties and would-be presidents keep filing up the long driveway. Recent delegations have explicitly cast their courtesy calls in the language of unity, loyalty and patriotism ahead of pivotal elections.

3) Signals to the base: Visiting Minna telegraphs seriousness to party structures and funders. It says: “I have sought counsel where history meets experience.” In Nigeria’s coded political theatre, that signal still matters. Outlets have reported for years that many aspirants treat the Hilltop as an obligatory stop an unflattering reality, perhaps, but a revealing one.

4) The man and the myth: The mansion itself, with its opulence and aura, has become a set piece in Nigeria’s story of power, admired by some, resented by others, but always discussed. The myth feeds the pilgrimage; the pilgrimage feeds the myth.

The balance sheet at 84.
To treat Babangida solely as a sage is to forget the costs of his era; to treat him only as a villain is to ignore the architecture that still holds parts of Nigeria together. Abuja’s relocation stands as a stabilising bet that paid off. ECOMOG, for all its flaws, seeded a habit of regional responsibility. Conversely, June 12 remains a national cautionary tale about elite manipulation, civilian marginalisation and the brittleness of transitions managed from above. These are not contradictory truths; they are the double helix of Babangida’s place in Nigerian memory.

Jonathan’s homage tried to distill the better angel of IBB’s record: MENTORSHIP, BRIDGE-BUILDING and a POSTURE that (at least in his telling) RESISTS SECTIONAL ISM. “That is why today, his house is like a Mecca of sorts,” he said, praying that the GENERAL continues to “mentor the younger ones.” Whether one agrees with the full sentiment, it accurately describes the lived politics of Nigeria today: Minna remains a checkpoint on the road to relevance.

The scholar’s verdict and a citizen’s challenge.
If Diamond warns about legitimacy and Siollun warns about the perils of soldier-politics, what should Nigerians demand from the Hilltop effect? Three things.

First, use influence to open space, not close it. Counsel should tilt toward rules, institutions and credible elections not kingmaking for its own sake. The lesson of 1993 is that subverting a valid vote haunts a nation for decades.

Second, mentor for unity, but insist on accountability. Unity cannot be a euphemism for silence. A truly patriotic elder statesman sets a high bar for conduct and condemns the shortcuts that tempt new actors in old ways. Diamond’s admonition on corruption is not an abstraction; it’s a roadmap for rebuilding trust.

Third, convert nostalgia into institutional memory. If Babangida’s house is a classroom, then Nigeria should capture, publish and debate its lessons in the open: on peace operations (what worked, what failed), on capital relocation (how to plan at scale), and on transitions (how not to repeat 1993). Only then does the pilgrimage serve the republic rather than personalities.

At 84, Ibrahim Babangida remains a paradox that Nigeria cannot ignore: a man whose legacy straddles NATION-BUILDING and NATION-BRUISING, whose doors remain open to those seeking power and those seeking peace. Jonathan’s visit (and his striking “Mecca” metaphor) reveals a simple, stubborn fact: in a country still searching for steady hands, the Hilltop’s shadow is long. The task before Nigeria is to ensure that the shadow points toward a brighter constitutional daybreak, where influence is finally subordinated to institutions and where mentorship hardens into norms that no single mansion can monopolise. That is the only pilgrimage worth making.

 

Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”.
By George Omagbemi Sylvester | Published by SaharaWeeklyNG.com

Continue Reading

celebrity radar - gossips

Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK

Published

on

Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK

Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK

Nigerian Juju music legend, Otunba Femi Fadipe, popularly known as FemoLancaster, is being celebrated today in London as he clocks 50 years of age.

Ambassador Olufemi Ajadi Oguntoyinbo, a frontline politician and businessman, led tributes to the Ilesa-born maestro, describing him as a timeless cultural icon whose artistry has enriched both Nigeria and the world.

“FemoLancaster is not just a musician, he is a legend,” Ambassador Ajadi said in his birthday message. “For decades, his classical Juju sound has remained a reminder of the beauty of Yoruba heritage. Today, as he turns 50, I celebrate a cultural ambassador whose music bridges generations and continents.”

While FemoLancaster is highly dominant in Oyo State and across the South-West, his craft has also taken him beyond Nigeria’s borders.

FemoLancaster’s illustrious career has seen him thrill audiences across Nigeria and beyond, with performances in the United Kingdom, Canada, United States of America, and other parts of the world. His dedication to Juju music has projected Yoruba traditional sounds to international stages, keeping alive the legacy of icons like King Sunny Ade and Chief Ebenezer Obey while infusing fresh energy for younger audiences
He further stressed the significance of honoring artistes who have remained faithful to indigenous music while taking it global. “In an era where modern sounds often overshadow tradition, FemoLancaster stands as a beacon of continuity and resilience. He has carried Yoruba Juju music into the global space with dignity, passion, and excellence,” he added.

Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK
The golden jubilee celebration in London has drawn fans, friends, and colleagues, who all describe FemoLancaster as a gifted artist whose contributions over decades have earned him a revered place in the pantheon of Nigerian music legends.

“As FemoLancaster marks this milestone,” Ajadi concluded, “I wish him many more years of good health, wisdom, and global recognition. May his music continue to echo across generations and continents.”

Continue Reading

celebrity radar - gossips

Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration

Published

on

Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration By Aderounmu Kazeem Lagos

Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration

By Aderounmu Kazeem Lagos

 

Lagos, Nigeria — The gospel music scene is aglow today as the “Duchess of Gospel Music,” Esther Igbekele, marks another milestone in her life, celebrating her birthday on Saturday, August 16, 2025.

Known for her powerful voice, inspirational lyrics, and unwavering dedication to spreading the gospel through music, Esther Igbekele has become one of Nigeria’s most respected and beloved gospel artistes. Over the years, she has graced countless stages, released hit albums, and inspired audiences across the world with her uplifting songs.

Today’s celebration is expected to be a joyful blend of music, prayers, and heartfelt tributes from family, friends, fans, and fellow artistes. Sources close to the singer revealed that plans are in place for a special praise gathering in Lagos, where she will be joined by notable figures in the gospel industry, church leaders, and admirers from home and abroad.

Speaking ahead of the day, Igbekele expressed deep gratitude to God for His mercy and the opportunity to use her gift to touch lives. “Every birthday is a reminder of God’s faithfulness in my journey. I am thankful for life, for my fans, and for the privilege to keep ministering through music,” she said.

Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration
By Aderounmu Kazeem Lagos

From her early beginnings in the Yoruba gospel music scene to her rise as a celebrated recording artiste with a unique fusion of contemporary and traditional sounds, Esther Igbekele’s career has been marked by consistency, excellence, and a strong message of hope.

As she adds another year today, her fans have flooded social media with messages of love, appreciation, and prayers — a testament to the profound impact she continues to make in the gospel music ministry.

For many, this birthday is not just a celebration of Esther Igbekele’s life, but also of the divine inspiration she brings to the Nigerian gospel music landscape.

Continue Reading

Cover Of The Week

Trending