“The Elegant Stallion of Nigeria”

There in heaven rests Onyeka Onwenu, a woman of grace and strength, whose life bridged tradition and modernity. As a liberal-conservative, she embraced the progressive ideals of her American education while honoring the deep roots of her Igbo heritage. She sang the stories of a nation in songs echoing the spirit of resilience and hope.

A devoted wife and mother, Onyeka cherished the unseen and unheard contributions of her loving husband, whose steadfast support was the quiet strength behind her public triumphs. Together, they nurtured a family grounded in love, respect, and shared values.

Onyeka’s legacy as an artist, activist, and advocate for education lives on in the hearts of those she inspired. Her unwavering dedication to cultural heritage and social justice will continue to light the path for future generations.

In the harmony of life and the melody of love, Onyeka Onwenu remains an eternal music of Nigeria’s enduring spirit.

It was interesting to hear out two On Air Presenters (OAPs) debate, which of TuFace Idibia and Flavour, two Nigerian style-definite artistes to cool off with after heated political analyses. Quick to it!

TuFace, known for his Afrobeats fusion, evolved beyond highlife, blending R&B, reggae and soul. He followed the global successes of Shina Peters and Majek Fashek. Shina Peters with “Ace (Afro-Juju Series 1-1989)” fused juju music with Afrobeat for Afro-Juju. Shina’s female dancers twerk- entranced African-Americans with energetic rhythms and catchy melodies. On the other hand Majek Fashek with “Send Down the Rain,” earlier from his 1988 album “Prisoner of Conscience,’ was a sentimental crowd puller. The song’s powerful lyrics and reggae rhythms resonated with audiences worldwide and earned him the sobriquete “The Rainmaker.” Again Majek’s peculiar stage antics crowned him!

TuFace’s “African Queen” and “Only Me,” eriched social consciousness, addressed themes of justice and responsibility.Was he somewhat unabble to shake off Majek’s influence? No, you could hear the strains of Bob Marley’s chant, which Majek hacked into for inspiration. So would the same be said of Flavour vis-a-vis Shina Peters’ influence. Flavour revolved back to highlife by infusing traditional Igbo rhythms and instruments. His “Ada Ada” and “Nwa Baby” still celebrates cultural themes, love and joy. Really, continuing highlife’s relevant organic throw-back themes since the 1960s. Unmistakbly evolving and revolving respectively, TuFace and Flavour have continued to drive that dynamic harmonizing synergy of Nigerian culture across borders.

Tuface gained fame from the now-defunct vocal group, Plantashun Boiz, before a solo success. His debut album, Face 2 Face (2004), featured that iconic anthem “African Queen,” celebrating beauty and identity. He continued building on that initial success with a 2006’s “Grace 2 Grace” featuring an inuendo against critics, who might sound too confident. In Nigerian parlance ‘over sabi!’

In 2008, he preferred ‘The Unstoppable,’ to keep his stomping confidence though. You could say he was really ‘TuFacing,’ truly to nature after rebuking, ‘Over Sabi! 2012 welcomed ‘Away and Beyond” to nail introspectve spiritual growth on the track “Higher (Spiritual Healing).” By then Flavour had come with Blessed (2012) – with romantic storytelling “Ada Ada,” and Uplifted (2010) featuring the hit “Nwa Baby,” a blend of modern sounds with highlife roots. Those followed debut N’abania (2005) that coined his highlife nuances.

TuFace continued pursuing his spiritiual “(The) Ascension” in 2014, a global attraction with diverse sounds for international appeal. He celebrated 2020 with – “Warriors” to stamp his enduring music persona, despite unceasing conflict with defunct Plantashun Boiz member, Black Face who claimed the o be actual lyricist on “African Queen.” But Flavour was thankful about life pleasures with “Ololufe” from album “Thankful (2014);” following up with “Ijele the Traveler (2017)” with evolutionary traditional and contemporary influences. “Flavour of Africa (2020)” testified to cultural pride, highlighting African rhythms and melodies.

Really, TuFace and Flavour had successfully accepted music batons from Shina Peters and Majek Fashek to sustain dynamic Nigerian music synergy, blending tradition and innovation. Both also laid foundations for Burner Boy, Whiz Kid and Davido, all celebrating an ever dynamic Nigerian popular culture with distinct yet cumulative highlights for global attention.

Back to the OAPs! I would advise that they consider the uniqueness of TuBaba (TuFace Idibia)’s genre versatility, mature objectivity and international collaborations with stars like Mary J. Blige-“Rainbow (Remix) 2012” for . They could be cool with Flavour’s music, deeply rooted in highlife, celebrating culture, love and joy. Powerful vocals and traditional Igbo elements crossed with Fally Ipupa’s Congolese makossa, in “Kwarikwa-Remix 2021” creating a dynamic fusion of crossborder African music could thrill. Both artistes have ensured the evergreen situation of Highlife music in global reckoning coming from the 1960s.

Accolades to some notable Nigerian highlife music stars from the 1960s to the 1970s
1.Rex Lawson- “Sawale”
2.Victor Olaiya- “Baby Jowo”
3.Bobby Benson- “Taxi Driver”
4.Osita Osadebe – “Osondi Owendi”
5.Roy Chicago- “Iyawo Pankeke”
6.E. T. Mensah — “All For You”
7.Fela Anikulapo-Kuti- “Zombie,” on Afro Beat, not today’s Afrobeats.

Onyeka Onwenu’s memorial will always stand as a powerful symbol of Pan-Nigerian reconciliation, reflecting a profound commitment to unity and harmony across the diverse Nigerian cultural landscape. Her journey was deeply rooted in Igbo cultural heritage and enriched by education in the United States.

She was trained in notable scenic and beautiful lake woodlands community with a botanical garden, Wellesley College, Wellesley, Massachusetts, USA. That is about 12 miles west of Boston. She was also at The New School for Social Research situated in vibrant Greenwich Village neighborhood of New York City, USA. Those positioned her uniquely as both an advocate for social justice and a cultural ambassador.

Onwenu earned a BA in International Relations and Communication and an MA in Media Studies from both US institutions, returned and joined the Nigerian Television Authority (NTA), 1980. In 1984, Onwenu co-produced the BBC documentary ‘Nigeria: A Squandering of Riches,’ https://youtu.be/y-OzTxlstw8 critically examining resource mismanagement and corruption, solidifying her role as a social commentator and advocate for accountability, despite attracting controversy.

Internationally, it enhanced her recognition as an artist and activist committed to social justice, solidifying her reputation as a multifaceted figure advocating for positive change. The same streak of character influenced Onwenu’s music career, which also flourished, with songs often addressing social issues and promoting unity and peace

Born January 31, 1952, in Obosi, South-East Nigeria, she was a popular singer, journalist and advocate for women’s rights. The Nigerian Civil War (1967-1970) had profound impacts on Onwenu’s early life. More so, following her father, D.K. Onwenu, a prominent educationist and politician’s passing in a car accident, leaving the mother to raise five children alone.

Onyeka Onwenu’s Igbo heritage significantly shaped her post-Civil War career, earning recognitions from cultural organizations. She chaired the Imo State Council for Arts and Culture, led the National Centre for Women Development and engaged in politics through the People’s Democratic Party (PDP) to address social issues.


In the 1990s, Onyeka Onwenu shifted her music to Christian gospel, continuing her advocacy for women’s rights, health issues, and social justice. As Chairperson of the Imo State Council for Arts and Culture and Executive Director of the National Centre for Women Development, she envisioned a reconciled Nigeria founded on inclusivity and understanding among diverse ethnic groups. Her arts still promote dialogue, unity, and reconciliation in Nigeria, empowering marginalized communities, especially women, through education, activism, and media for social reforms.

Onwenu’s compassionate outreach extended to health awareness, particularly HIV/AIDS advocacy, where she integrated health campaigns with music, fostering a sense of community responsibility. Moreover, her role in “Half of a Yellow Sun” showcased Nigerian narratives to global audiences, promoting cultural pride and cross-cultural dialogue. In glory, Onwenu now unites art and advocacy for Pan-Nigerian reconciliation and change.

In the digital age, African visual artists are embarking on a transformative journey to assert the authenticity, relevance, and adaptability of the continent’s rich arts culture. This endeavour involves a multifaceted strategy that encompasses the preservation and dissemination of traditional artistic practices through digital platforms and the strategic integration of digital tools and technologies into contemporary artistic expressions. By actively engaging with global audiences, these artists are enhancing the understanding and

appreciation of Africa’s cultural narratives and the profound significance behind their artistry.

Preservation and Dissemination of Traditional Practices

The documentation and augmentation of traditional practices by both native and non-African individuals have played a pivotal role in preserving and disseminating African visual arts culture. Now, it is incumbent upon native African artists to leverage digital platforms to achieve two primary objectives: preserving authenticity and carving out a niche in the global art landscape. By meticulously documenting techniques, stories, and cultural contexts through videos, blogs, and social media, artists can create a digital archive that ensures these traditions are not lost. Shared stories, cultural contexts, and techniques have proven effective in bridging the gap between African cultural artistry and digitalization, creating a harmonious blend of tradition and innovation.

Spotlight on African Artists

Yinka Shonibare

Yinka Shonibare, an artist who draws on his Nigerian heritage and British upbringing, explores themes of cultural identity, globalization, and colonialism. His process involves incorporating vibrant African wax prints to reflect cultural pride and historical complexity. Shonibare’s notable works, such as “Nelson’s Ship in a Bottle” and “The Swing (After Fragonard),” recontextualize historical narratives using African fabrics. His film “Un Ballo in Maschera” reimagines Verdi’s opera with an all-Black cast in African prints. Shonibare enhances his practice with digital tools and platforms, blending traditional and contemporary elements. His “Wind Sculpture (SG) I” exemplifies the adaptability of African arts in the digital age, celebrating cultural exchange and diversity.

Wangechi Mutu

Wangechi Mutu, a Kenyan-born multimedia artist, blends global perspectives with a unique composite aesthetic focused on femininity, culture, and identity. She creates collages and installations using diverse materials, featuring exaggerated and hybrid elements. Her globally recognized works, including “The End of Eating Everything” and “The Seated I–IV” at the Metropolitan Museum of Art, showcase her distinctive style. Mutu utilizes social media for projects like “#100days,” commemorating the Rwanda genocide. Her work’s digital presence enhances engagement and collaboration, allowing her to reach a broader audience and foster a deeper appreciation for her art.

El Anatsui, a Ghanaian artist renowned for transforming recycled materials into large-scale sculptures, delves into themes of consumption, identity, and history. He recycles bottle tops, weaving them together with copper wire to create fabric-like material, combining local traditions with global abstract art. His innovative approach accentuates sustainability and accessibility. Anatsui’s work, such as “Behind the Red Moon” displayed at Tate Modern’s Turbine Hall, reflects political and environmental themes, utilizing discarded elements to evoke socio-cultural narratives. Rooted in traditional craftsmanship, Anatsui engages digital audiences through global exhibitions and online platforms, seamlessly merging traditional and contemporary art movements.

Kehinde Wiley

El Anatsui

Kehinde Wiley, an American artist known for his vibrant portraits of African Americans set in the contexts of Old Master paintings, reimagines historical narratives. He employs “street casting” to find models, blending contemporary and historical styles. Wiley’s notable works include Barack Obama’s portrait and “Rumors of War,” which incorporate various international cultural elements. Wiley leverages social media and digital platforms to expand his audience reach and document his projects, thereby enhancing engagement and collaboration.

Esther Mahlangu

Esther Mahlangu, a South African artist renowned for preserving and reimagining Ndebele tribal art, is characterized by her vibrant geometric designs. Trained by her grandmother and mother, Mahlangu uses traditional methods and modern materials to expand cultural heritage. Her notable collaborations with BMW, turning vehicles into moving canvases, and her participation in the Venice Biennale highlight her innovative approach. Mahlangu embraces technology in projects like the BMW color-changing collaboration and utilizes digital platforms for broader visibility, ensuring her art reaches a global audience.

The Dakar Biennale

The Dakar Biennale is a prominent African contemporary visual art exhibition showcasing diverse artists by integrating traditional and modern concepts. Featuring exhibitions, performances, and installations, it explores the intersection of art and technology. The Biennale serves as a digital platform for artists’ presentation and documentation, improving accessibility and engagement with the global art community. It reflects African identity and cultural heritage through innovative artistic expressions. Platforms like YouTube, Instagram, and TikTok offer opportunities to share short tutorials, behind-the-scenes footage, and live performances, reaching a global audience and fostering a greater appreciation for African arts.

Global Engagement

African artists are leveraging digital platforms to share cultural narratives and amplify global visibility. Online galleries, virtual exhibits, and social media enable visual artists to educate audiences about symbolic meanings, historical contexts, and personal inspirations. Digital sales channels expand commercial reach, demonstrating the enduring value of traditional African arts. This global engagement allows African artists to reach new audiences and foster a deeper understanding of their work, highlighting the richness and diversity of African cultural heritage.

Strategic Digital Tech Tooling

African visual artists are seamlessly integrating traditional methods with contemporary digital innovations, blending cultural heritage and modern aesthetics. Digital fabrication techniques, such as 3D printing, enable unique interpretations of traditional art forms. Graphic design software helps create intricate patterns rooted in cultural identity. This fusion of digital and traditional workspaces showcases the adaptability and versatility of African arts in the digital age, ensuring that these art forms remain relevant and dynamic.

Amplifying Voices and Reaching New Audiences

African artists harness digital tools and channels to amplify their voices, individual iconography, and reach new audiences. These efforts foster global dialogue around Africa’s rich artistic heritage.

Digital engagement, collaborations, and cultural exchanges elevate the visibility and recognition of African arts worldwide, ensuring that these art forms continue to inspire and resonate with people across the globe

Enduring Power and Adaptability

The enduring power and adaptability of African visual arts are evident as artists evolve with digital tools while preserving their cultural essence. African visual artists are asserting the authenticity, relevance, and adaptability of the continent’s rich artistic heritage in the digital landscape. By blending traditional practices with contemporary digital innovations, they are ensuring that African arts remain vibrant, dynamic, and globally appreciated.

You may never be able to ignore the story of the late Chief Festus Okotie-Eboh, Nigeria’s First Republic Finance Minister from 1957 to 1966, which transcended the realms of politics and economics. He would probably still be a visible fashion style politician of our time; and might have epitomized the nation’s evolved fashion and lifestyle. He stylized the Nigerian dress sense with a masterful interplay of tradition and modernity.

In the early 1960s, when Nigeria basked in the new-found sunshine of freedom from British rule, Okotie-Eboh’s wardrobe reflected the vibrant and stylish lines of his Bini ethnic heritage. He was never short of donning the iconic Hausa Babanriga. I suspect also Igbo Akwete and Yoruba Aso Oke dresses, weaving the much-desired unified Nigerian identity.

As the 1970s ushered in the Afrocentric revolution, Okotie-Eboh’s fashion sense would have mirrored the unapologetic embrace of cultural identity. Designers like Shade Thomas-Fahm, the “Mother of Nigerian Fashion,” might have found in Okotie-Eboh a discerning patron, with the Finance Minister’s choices showcasing the bold Agbada and Isiagu ensembles. He would have signalled a defiant stance against the homogenizing forces of post-colonial and post-war liberal Nigeria.

The increasing interconnectedness of the 1980s would have seen Okotie-Eboh’s fashion adaptability regaled with the seamless integration of Agbada, Aso Oke, and Isi Agu designs into Western tailoring. That blend of traditional Nigerian elements with global trends would have cemented Okotie-Eboh’s status. He would have driven Nigerian spirit – firmly rooted in its cultural heritage, yet open to the ebb and flow of international influences. Indeed, fuelled by the nation’s newfound oil and gas wealth.

Okotie-Eboh’s dress sense could have become an iconic blueprint typical of an adaptable, iconoclastic Nigerian spirit, unafraid to face the challenges of a globalized world, while maintaining a distinct cultural identity.  However, even in Okotie-Eboh’s absence, the Nigerian fashion and lifestyle landscape has never stopped evolving. Perhaps one of his great-grandchildren, or a scion of the current generation, could have found inspiration to become another Nigerian fashion and lifestyle aficionado.

He would have carried forward the legacy of cultural pride and adaptability, without necessarily treading the path of public service. Yet, fashion and style remain strong integral components of Nigeria’s governance and social structures. The obvious is evidenced by the often ‘politicised’ grandeur and splendour of Nigerian wedding celebrations.

 Chief Festus Okotie-Eboh’s story serves as a powerful reminder of how fashion and lifestyle can become a driver for a nation’s evolution, reflecting its cultural heritage and political landscape. Always a dynamic interplay between tradition and modernity, Chief Okotie-Eboh’s enduring legacy could have enacted an iconic, adaptable and distinctly Nigerian spirit. I guess it had and still does!

Located in Daura, Nigeria, the Kusugu well is an ancient well that has become famous for its relation to the legend of the hero Bayajidda defeating the snake Sarki. The well and Bayajidda’s supposed dagger are now a tourist attraction that attracts visitors from all over the world.

According to Hausa myth, Hausa communities have been living in Central Sudan (much of modern-day Northern Nigeria & some part of Niger) for over 2000 years. Daura was believed to be one of the largest Hausa cities of that time. It had queens as head of government that oversaw the affairs of the people. During the reign of Queen Daurama, the major source of water for Daura was the Kusugu well. But people were only allowed to fetch water on Fridays because of a strange snake that lived inside the well.

That was how people continued to starve until one day when a person who was believed to be a Baghdadi prince, Bayajidda (Abu Yazid) came to Daura because he could not get the throne after the death of his father. The brave Prince after lodging in the house of one old woman in the name of Ayyana, requested for water, but he was not given enough. He then requested to be shown the well to fetch water. He was warned about a strange snake. He went to the well and eventually killed the snake after a fight. The queen then married him and he became a King. Because he could not speak Hausa before, people started calling him Bayajidda, meaning, he don’t understand before.

He had seven children that ruled over the seven Hausa states that are called Hausa Bakwai. The Kusugu well is where the giant snake Sarki was killed with a by Bayajida in the 10th century because the snake would only allow the people of Daura to fetch water from the well only once a week, mainly Fridays.

Today, the Kusugu well is still standing and has become a popular tourist attraction. The well is surrounded by a fence and visitors can see the well from outside the fence. The story of Bayajidda and the snake Sarki has been passed down from generation to generation and has become an important part of Nigerian culture.

In conclusion, the Kusugu well is not just a well but a tourist centre.

In the panorama of global entertainment, the Nigerian film industry, Nollywood, exemplifies the profound capability of movies and music to shape societal norms, cultural identities, and even economic landscapes. This essay delves into the multifaceted influence of the entertainment sector, with a particular focus on Nollywood’s impact and its interplay with societal dynamics.

The genesis and evolution of Nollywood mirror the broader narrative of the global movie industry’s journey from the rudimentary storytelling of the early 20th century to the sophisticated, technology-driven blockbusters of today. Nollywood, recognized as the second-largest film producer globally, epitomizes this transformation, highlighting the industry’s resilience and its pivotal role in artistic expression and societal commentary. Nigerian films serve as a conduit for cultural reflection, often tackling societal issues and provoking thought on topics ranging from corruption and social injustice to gender equality.

Parallel to the film industry, music holds a significant place in shaping cultural landscapes. In Nigeria, the synergy between movies and music amplifies the country’s cultural narrative, propelling it onto the global stage. The music industry, with its diverse genres ranging from Afrobeats to traditional rhythms, complements the storytelling of Nollywood, enhancing the emotional resonance and cultural depth of Nigerian films. Together, they forge a potent medium for cultural exchange and global influence.

Nollywood’s ascendancy in the global entertainment arena underscores the influential power of film as a medium for societal reflection and change. By weaving complex narratives that address pressing social issues, Nigerian movies contribute to public discourse, sometimes even catalysing policy shifts and social awareness. This exemplifies the broader capacity of entertainment to not only mirror societal norms and values but also to challenge and reshape them. Through its films, Nollywood has become a beacon of social commentary, reflecting the struggles, aspirations, and dynamism of Nigerian society.

Looking ahead, the future of Nollywood and the broader Nigerian entertainment industry is inextricably linked with digital innovation. The proliferation of streaming platforms and the ubiquity of social media have democratized access to content, allowing Nigerian films and music to reach a global audience like never before. This digital revolution offers unprecedented opportunities for Nollywood to expand its influence, experiment with new storytelling formats, and engage with international audiences. However, this digital frontier also presents challenges, including the need for robust copyright protections, infrastructure development, and ensuring equitable access to digital tools and platforms.

Conclusively, the Nigerian film industry, Nollywood, stands as a testament to the transformative power of entertainment in shaping societal narratives, cultural identities, and global perceptions. As a microcosm of the broader entertainment industry, Nollywood illustrates how movies and music can transcend geographical and cultural boundaries, fostering global dialogues and driving social change. The continued evolution of Nollywood, fuelled by technological advances and creative innovation, promises to further solidify its role as a cultural powerhouse and societal influencer in the years to come.