ABUJA, September 22, 2026 — President Bola Ahmed Tinubu has congratulated legendary Nigerian musician and global juju music icon, Chief Sunday Adeniyi Adegeye, popularly known as King Sunny Ade, on his 80th birthday, describing him as an embodiment of musical excellence and an outstanding ambassador of Nigerian culture.

In a birthday message issued on Tuesday, President Tinubu commended the veteran musician for eight decades of remarkable achievement, creativity and service to the arts, noting that his career had helped transform juju music from a distinctly Nigerian musical tradition into a globally recognised cultural treasure.

The President said King Sunny Ade had enriched Nigeria’s cultural landscape and brought joy to millions of people across generations through his extraordinary talent, discipline and enduring passion for music.

“Today, I warmly celebrate Chief Sunday Adeniyi Adegeye, the legendary King Sunny Ade and an icon of Nigerian and African music, on his 80th birthday,” Tinubu said.

He described the celebrated musician as one of Africa’s most distinguished entertainers, whose career had taken the richness of Nigerian culture to audiences across the world.

According to the President, King Sunny Ade’s distinctive musical style, characterised by the masterful fusion of guitars, talking drums and other traditional instruments, together with his captivating dance performances and innovative approach to music, had earned him a distinguished place in the history of African arts and entertainment.

Tinubu also praised the musician’s contribution beyond entertainment, describing him as a “proud ambassador of Nigeria” whose international career demonstrated the ability of the country’s cultural heritage to transcend geographical boundaries and communicate powerfully with audiences around the world.

The President noted that King Sunny Ade’s influence extended across generations of musicians and creative practitioners, stressing that his music had served not only as a source of entertainment but also as a vehicle for cultural preservation and national identity.

“Your music has not only entertained, but it has also preserved our cultural identity, celebrated our traditions and projected the beauty and diversity of our country to the world,” the President said.

Tinubu further acknowledged the broader significance of the veteran musician’s career to Nigeria’s creative industry, noting that his accomplishments had inspired generations of musicians and other practitioners in the arts and entertainment sector.

He said the achievements of cultural icons such as King Sunny Ade underscored the importance of Nigeria’s creative heritage and its capacity to serve as an instrument of cultural diplomacy and international recognition.

“As President, I deeply recognise and celebrate the immense contributions of our cultural icons,” Tinubu said, expressing gratitude to God for granting the musician the grace to attain the milestone.

The President described King Sunny Ade’s 80 years as a testament to excellence, perseverance and sustained service to the arts.

“At 80, you embody excellence, perseverance and service to the arts. Your achievements remind us that talent, when combined with dedication and commitment to one’s heritage, can become an enduring national legacy,” he said.

Tinubu extended his congratulations to the music legend on behalf of his family, the Federal Government and the people of Nigeria, while praying for his continued good health, wisdom and many more fulfilling years.

King Sunny Ade, born Sunday Adeniyi Adegeye, is widely regarded as one of Nigeria’s most influential musicians and one of the foremost international ambassadors of African popular music. His career has spanned several decades, during which he has played a significant role in the evolution and international visibility of modern juju music.

His 80th birthday therefore marks a significant milestone not only in the life of one of Nigeria’s most celebrated entertainers but also in the history of the country’s contemporary cultural and creative expression.

The post Tinubu Celebrates King Sunny Ade at 80, Hails Legendary Musician as Cultural Ambassador appeared first on The Lagosian Magazine.

September 16, 2026

Nigeria’s theatre and film industry has been plunged into mourning following the death of veteran international actor and film executive, Oludotun Baiyewu Jacobs, popularly known as Olu Jacobs, at the age of 84.

Jacobs died on Wednesday, September 16, 2026, bringing to an end a remarkable acting career that spanned more than five decades across theatre, television and film. His death was announced by his family through a statement shared on social media by his son, Olusoji Jacobs, and his wife, veteran actress Joke Silva. 

The family described the celebrated actor as “The Lion of Lufodo”, announcing his dates of birth and death as 11 July 1942 – 16 September 2026. It also appealed to bloggers and social-media influencers to respect the family’s privacy as they mourn their patriarch.

An extraordinary career

Born in Kano on July 11, 1942, to parents of Egba Alake origin in Abeokuta, Ogun State, Olu Jacobs developed an early passion for drama and the performing arts. He subsequently travelled to Britain, where he trained at the prestigious Royal Academy of Dramatic Art (RADA), London.

His professional career took him through the British stage and television before his eventual return to Nigeria. During his years in Britain, he appeared in a number of television productions, including The Goodies, Till Death Us Do Part, Barlow at Large, The Tomorrow People and The Professionals. He also worked in theatre and appeared in international productions.

His return to Nigeria marked the beginning of an even more influential chapter in his career. Jacobs became one of the most recognisable faces of Nigerian theatre, television and the emerging Nigerian film industry.

With his imposing presence, deep voice, commanding delivery and ability to inhabit vastly different characters, he became particularly associated with roles as traditional rulers, elders, aristocrats, political figures and men of authority.

He appeared in more than 100 films, while simultaneously maintaining a strong connection with theatre. His body of work helped bridge Nigeria’s traditional stage culture with the rapidly developing home-video and Nollywood industries.

The Lion of Lufodo

Beyond his work before the camera, Jacobs and Joke Silva became important figures in Nigeria’s performing-arts establishment.

Together, they were associated with Lufodo Group, through which they pursued theatre, film production and training. Their work included the development of the Lufodo Academy of Performing Arts, reflecting their commitment to professionalising and nurturing Nigeria’s creative industry.

Their marriage also became one of the most celebrated partnerships in Nigerian entertainment, with the two actors frequently appearing together in theatrical and screen productions.

A decorated thespian

Olu Jacobs received numerous honours during his distinguished career. Among them was the Africa Movie Academy Award for Best Actor in a Leading Role in 2007. He was also honoured with a national award, Member of the Order of the Federal Republic (MFR), in 2011.

In 2021, he received a Lifetime Achievement Award at the Africa International Film Festival, an honour that recognised his extraordinary contribution to African cinema and the performing arts.

His career consequently extended beyond entertainment into cultural history. For generations of Nigerians and Africans, Olu Jacobs represented the transition from the old tradition of professional theatre to contemporary African cinema.

Years away from the screen

In his later years, Jacobs largely withdrew from public acting as his health declined. Joke Silva had previously spoken publicly about his battle with Lewy body dementia, a progressive neurological condition.

His health also made him the subject of repeated false death reports over the years. On several occasions, his family and colleagues were forced to dismiss reports that he had died. Those earlier rumours made Wednesday’s announcement particularly poignant.

In July 2026, however, Silva celebrated her husband’s 84th birthday, describing him affectionately as “The Lion of Lufodo.”

An era ends

With his death, Nigeria loses one of the most accomplished actors of the generation that helped establish professional acting as a powerful force in the country’s cultural landscape.

Olu Jacobs was more than a Nollywood star. His career connected British television, Nigerian theatre, traditional African performance and modern Nigerian cinema, giving him a rare place in the history of African entertainment.

For millions who watched him on stage, television and the big screen, his distinctive voice, regal bearing and unforgettable performances became part of the cultural memory of several generations.

His death marks the passing of one of the great figures of Nigeria’s performing arts.

Olu Jacobs — actor, thespian, mentor, film executive and “Lion of Lufodo” — was 84.

The post BREAKING: Veteran Nigerian Actor Olu Jacobs Dies at 84 appeared first on The Lagosian Magazine.

Veteran Nigerian actor and filmmaker, Taiwo Hassan, popularly known as Ogogo, has died at the age of 66 after a brief but intense battle with stage-four cancer.

Ogogo’s death was announced on Sunday evening by his daughter, Kira Taiwo, who broke the heartbreaking news during an emotional live session on Instagram. Visibly devastated, Kira struggled to contain her emotions as she announced that her beloved father had died, bringing to an end a desperate family campaign to secure further treatment for the veteran actor.

The actor’s death came barely days after his daughters, Kira and Lima Taiwo, publicly disclosed that he was battling stage-four cancer and appealed urgently to Nigerians, medical professionals and cancer specialists to help save his life. The family had said his condition had deteriorated significantly and that further chemotherapy was reportedly no longer possible.

OGOGO OVER THE YEARS

For the Nigerian film industry, the death of Ogogo represents the loss of one of the most recognisable and influential figures in Yoruba-language cinema. His career spanned more than four decades, during which he featured in more than 300 films and established himself not merely as an actor but as a filmmaker, theatre practitioner and passionate contributor to the growth of Nigerian cinema.

Ogogo’s final days were marked by an extraordinary outpouring of concern from colleagues and admirers. Earlier in the week, prominent actors and filmmakers gathered in Lagos for a special prayer session for him. The gathering brought together veterans and younger practitioners including Jide Kosoko, Yinka Quadri, Antar Laniyan, Bukky Wright, Wale Elesho, Yomi Fash-Lanso, Madam Saje, Mr Latin, Lateef Adedimeji and Toyosi Adesanya, among others. Adebayo Salami, popularly known as Oga Bello, reportedly participated virtually.

The emotional campaign to save Ogogo also exposed the desperation of his family as they searched for viable medical options. His daughters repeatedly stressed that their appeal was not primarily for money but for credible medical assistance capable of giving their father another chance. Senator Solomon Adeola, popularly known as Yayi, was acknowledged by Kira for supporting the family with medical expenses.

Kira had, only hours before news of her father’s death emerged, spoken publicly about the immense emotional burden the cancer battle had placed on the family. She complained that some people were allegedly attempting to exploit the situation by offering supposed solutions in exchange for huge sums of money. She also revealed how deeply the illness had affected Ogogo’s elder brother and other members of the family.

The news of Ogogo’s death has since sent shock waves through the Nigerian entertainment community, with fans, actors and filmmakers mourning a man whose contribution to Yoruba cinema extended far beyond his performances on screen.

For generations of Nigerian movie lovers, Ogogo was a familiar and commanding presence. His distinctive acting style, powerful delivery and deep connection with Yoruba culture helped make him one of the enduring faces of indigenous Nigerian cinema. His work formed part of a larger tradition of filmmakers and actors who transformed Yoruba theatre and storytelling into a major force within Nollywood.

His death is particularly poignant because it follows a period in which the industry rallied around him in prayer and solidarity. Only days ago, more than 100 entertainment personalities reportedly gathered to pray for his recovery. The prayers reflected the affection and respect he commanded among colleagues after decades of service to the profession.

As tributes begin to pour in from across Nigeria and beyond, Ogogo leaves behind a legacy built on discipline, longevity, creativity and an enduring commitment to Nigerian storytelling.

He gave more than four decades of his life to the stage and screen. In doing so, he helped preserve Yoruba cultural expression while contributing to the development and visibility of Nigeria’s indigenous film industry.

The curtain has now fallen on the life of Taiwo Hassan, but the body of work he leaves behind will continue to speak to generations of Nigerians.

Ogogo is dead. His art, however, lives on.

The post Ogogo Dies at 66 After Battle With Stage-Four Cancer appeared first on The Lagosian Magazine.

By Jimmy Fatunbi

In a strong demonstration of community pride and homegrown enterprise, leading indigenous Itsekiri brands are rallying behind the Itsekiri Global Homecoming (IGHC), lending their platforms, expertise and resources to support the landmark celebration taking place across the Warri Kingdom from August 16 to 23, 2026.

Held under the authority of His Majesty, Ogiame Atuwatse III, CFR, the Olu of Warri, and under the auspices of The Royal Order of Iwere (ROI), the Homecoming brings together Itsekiri sons, daughters, friends and global allies for a week-long celebration of heritage, culture, community and the future of the Warri Kingdom, while commemorating the 5th Coronation Anniversary of His Majesty.

Among the indigenous Itsekiri businesses supporting the Homecoming are Overland Airways, VouchLinks and REYON Water, each bringing its expertise to help deliver a memorable experience for guests arriving from across Nigeria and the global diaspora.

Overland Airways is supporting the movement of guests travelling into the region, helping connect returning Itsekiris, visitors and other guests to the Homecoming. VouchLinks, a Nigerian peer-to-peer recommendation platform, is supporting the celebration through its digital platform and innovative approach to trusted recommendations. REYON Water is supporting the week as the Hydration Partner, helping ensure guests are catered for across the various Homecoming events.

Joining the growing network of partners is Agile Cycle, an indigenous electric mobility venture and the Official Mobility Partner of the Homecoming. Agile Cycle will support mobility throughout the week, including the highly anticipated Scooter Ride event with His Majesty, Ogiame Atuwatse III, one of the Homecoming’s most talked-about signature experiences. The activation reflects Agile Cycle’s commitment to smart, sustainable mobility and its vision of getting people moving through accessible, innovative solutions.

The growing support from indigenous businesses is complemented by a wider network of brands and organisations that have also come on board. Other partners include MAGGI® (Nestlé Nigeria), Sterling Bank, Seaman’s Schnapps, Loatsad Promomedia, Enugu Air and ORÍKÌ, alongside other supporting organisations contributing to the success of the Homecoming.

Speaking on the growing support, Ade Mabo, member of The Royal Order of Iwere (ROI) and IGHC organising committee, expressed appreciation to the indigenous Itsekiri businesses and other organisations supporting the initiative.

“It is deeply encouraging to see indigenous Itsekiri brands and organisations nationwide recognise the significance of the Itsekiri Global Homecoming and choose to support it. Their involvement reflects the strength of our entrepreneurial community and the shared belief that we can come together to celebrate our heritage while creating meaningful opportunities for our people and our Kingdom. We are sincerely grateful to every partner lending their platform, expertise and resources to make this Homecoming possible.”

The Itsekiri Global Homecoming (IGHC) will feature a rich programme of royal pageantry, cultural showcases, culinary experiences, business and development conversations, heritage tours, entertainment and the iconic Royal Warri River Regatta, culminating in celebrations marking the 5th Coronation Anniversary of His Majesty, the Olu of Warri.

With indigenous businesses and leading brands continuing to rally behind the initiative, the Homecoming is building momentum as a major platform for celebrating Iwere heritage, strengthening connections, supporting enterprise and showcasing the Warri Kingdom to Nigeria and the world.

Learn more at www.itsekiriglobalhomecoming.com and follow @itsekirglobalhomecoming on social media for live updates from the IGHC week in Warri.

The post Indigenous Itsekiri Brands Rally Behind Itsekiri Global Homecoming 2026  appeared first on The Lagosian Magazine.

The production formed part of activities marking Professor Soyinka’s 92nd birthday and the 40th anniversary of his Nobel Prize in Literature, reaffirming the timelessness of one of Africa’s most celebrated playwrights and the continued relevance of his social commentary.

Far from being a nostalgic retelling, Return of Jero transported Soyinka’s iconic beach prophet into the complexities of present-day Nigeria, where the intersections of religion, politics, social media, commerce and public morality continue to shape everyday life. The adaptation retained the wit, satire and intellectual sharpness of the original while introducing contemporary characters, music, choreography and visual storytelling that resonated with a modern audience.

The evening drew an eclectic audience of diplomats, theatre practitioners, academics, cultural enthusiasts, students, media professionals and lovers of literature, all united by an appreciation of Nigerian theatre and its capacity to interrogate society while entertaining.

From the opening sequence to the final curtain call, the production combined compelling performances with immersive stagecraft, carefully choreographed movement, live musical interpretations and thoughtful costume design to deliver a theatrical experience that was both engaging and reflective. Humour remained a central element, but beneath the laughter lay pointed questions about leadership, deception, ambition, spirituality and the human inclination towards illusion.

Speaking after the performance, playwright and Producer, Babatunde Odubanwo, described the production as an artistic conversation between generations.

According to him, Return of Jero was conceived not merely as an adaptation, but as a cultural bridge that introduces younger audiences to Soyinka’s literary genius while inviting older audiences to revisit a classic through contemporary realities.

“We wanted audiences to recognise that the issues Soyinka examined decades ago have not disappeared. They have simply evolved. Theatre remains one of the most powerful mediums for provoking thought, preserving culture and inspiring meaningful conversations,” he said.

Odubanwo further noted, ” “This production demonstrates the timeless relevance of Professor Soyinka’s work. While entertaining audiences, it also provokes important conversations about leadership, faith, integrity, and society. Our objective was to reinterpret a literary classic in a way that resonates with today’s generation while preserving the brilliance of the original.”

He expressed appreciation to Professor Wole Soyinka for granting approval for the adaptation and acknowledged the invaluable support of the cast, crew, production team, technical partners, sponsors, media organisations, and every individual whose contributions made the production possible.

The production also reflected the growing confidence of Nigeria’s contemporary theatre movement, demonstrating that classic African literature can be reinterpreted without compromising its originality or philosophical depth. By blending traditional theatrical expression with modern production techniques, Return of Jero underscored the creative possibilities that emerge when heritage meets innovation.

The performance received sustained applause from the audience, many of whom commended the quality of the acting, the richness of the storytelling and the production’s ability to connect generations through humour and social critique. For many attendees, it was not only a celebration of Soyinka’s remarkable legacy but also a reminder of theatre’s enduring role in shaping public discourse.

The successful staging further highlighted the importance of continued investment in Nigeria’s creative and cultural industries, particularly in works that preserve literary heritage while creating opportunities for emerging actors, directors, writers and technical professionals.

As the curtain fell, Return of Jero left audiences with more than memories of an entertaining evening. It reaffirmed the enduring power of Nigerian theatre to reflect society, challenge convention and celebrate the richness of African storytelling.

With the success of its premiere, the producers disclosed plans to explore additional performances, institutional collaborations and festival engagements that will bring the production to wider audiences across Nigeria and beyond.

For a work inspired by one of Africa’s greatest playwrights, Return of Jero achieved what good theatre has always sought to do: entertain, provoke reflection and remind audiences that while times may change, human nature often remains remarkably familiar.

The post ‘Return of Jero’ Reimagines Soyinka’s Classic for a New Generation appeared first on The Lagosian Magazine.

LAGOS — Expectations are building ahead of the July 25 premiere of Return of Jero, a new stage production inspired by Nobel Laureate Professor Wole Soyinka’s celebrated play, The Trials of Brother Jero.

What has attracted considerable attention, however, is not only the revival of one of Nigeria’s most enduring theatrical masterpieces but also the remarkable story behind its production. The play is the brainchild of Mr. Babatunde Odubanwo, a multi-talented young Nigerian whose professional career is rooted in the finance industry but whose passion for the creative arts is rapidly earning him recognition as one of the country’s promising theatre producers.

Written and produced by Odubanwo and directed by acclaimed theatre practitioner Omololu Sodiya, Return of Jero has received the endorsement and approval of Professor Wole Soyinka, a development widely regarded as a significant vote of confidence in the production’s artistic integrity and its faithful interpretation of the spirit of the original classic.

For many observers, Soyinka’s approval speaks volumes. If Africa’s first Nobel Laureate in Literature is willing to lend his support to the project, theatre enthusiasts believe audiences can expect a production of exceptional quality from the emerging theatre entrepreneur.

Scheduled for Saturday, July 25, 2026, at the J. Randle Centre for Yoruba Culture and History, Onikan, Lagos, the event will begin with a red-carpet reception at 3:00 p.m., while the curtain rises at 4:00 p.m.

Organisers promise an evening rich in wit, biting satire and compelling social commentary—qualities that have made the original Brother Jero one of the most celebrated works in African drama. The new production seeks to reintroduce these timeless themes to contemporary audiences while offering fresh creative perspectives.

With just days to the performance, excitement continues to mount among theatre lovers, literary scholars and cultural enthusiasts eager to witness what could mark the arrival of another influential voice in Nigeria’s vibrant performing arts landscape.

As the curtain prepares to rise, all eyes will be on Babatunde Odubanwo, whose successful transition from the finance sector to the theatre stage may well signal the emergence of a dynamic new force in Nigerian cultural production.

The post Return of Jero Set to Rekindle Soyinka’s Theatrical Legacy as Emerging Producer Babatunde Odubanwo Takes Centre Stage appeared first on The Lagosian Magazine.

Theatre enthusiasts, literary scholars and lovers of Nigerian arts are set for a memorable cultural experience as Return of Jero, a contemporary reimagining inspired by Professor Wole Soyinka’s iconic The Trials of Brother Jero, comes to the stage on Saturday, July 25, 2026, at the J. Randle Centre for Yoruba Culture and History, Onikan, Lagos.

Written by storyteller, poet and playwright Babatunde Odubanwo, Return of Jero revisits one of African literature’s most memorable satirical characters, Brother Jero, placing him squarely within the realities of present-day Nigeria. The production explores themes of power, deception, faith, ambition and human vulnerability through compelling storytelling, rich dialogue and contemporary theatrical expression.

More than a revival, the play offers audiences an opportunity to reflect on the enduring relevance of Soyinka’s social commentary, demonstrating how the issues he explored decades ago continue to resonate in contemporary society.

Speaking ahead of the performance, Odubanwo described the production as both a tribute to Nigeria’s foremost literary icon and an invitation for audiences to interrogate present-day social realities through the lens of satire.

“Return of Jero celebrates the genius of Professor Wole Soyinka while engaging a new generation in conversations about leadership, morality, manipulation and the resilience of society. It is theatre that entertains, provokes and inspires,” he said.

The production features a cast and creative team committed to delivering a compelling theatrical experience through strong performances, innovative stagecraft and engaging audience interaction.

The staging has attracted interest from members of the diplomatic community, the creative industry, academia, corporate organisations and theatre lovers, underscoring the continued relevance of stage productions in fostering dialogue and preserving Nigeria’s literary heritage.

Attendance is free, but registration is required. Members of the public can reserve their seats by registering at https://www.eventporte.com/return-of-jero.

The organisers have invited members of the media, corporate organisations, educational institutions and the general public to be part of an evening that celebrates Nigerian literature, honours artistic excellence and reaffirms the enduring power of theatre as a platform for reflection and social engagement.

Return of Jero will be staged on Saturday, July 25, 2026, at the J. Randle Centre for Yoruba Culture and History, Onikan, Lagos. Admission is free upon registration.

The writer’s repertoire explores the concept of history, identity, leadership and contemporary society. His notable productions include MAREN, a biodrama on Nobel Laureate Professor Wole Soyinka; Idi Amin, a play that mirrored the Nigerian society; Beere Arolu, an epic theatrical retelling of the history of Epe; and Return of Jero, his latest work inspired by the timeless satire of Professor Wole Soyinka.

The post ‘Return of Jero’ revives Soyinka’s satire for new generation appeared first on The Lagosian Magazine.

In an extraordinary celebration of love, emotion, and humanity, Rashidat Olamidayo Ajakaye has released her highly anticipated collection of poems, ‘Simply Romance.’ Premiering in April 2026, this exquisite compilation invites readers to immerse themselves in the tender nuances of affection and connection, weaving a tapestry of heartfelt expressions that resonate deeply with the human experience.

Ajakaye’s ‘Simply Romance’ is not just a collection of poems; it is a captivating journey through the myriad facets of love—romantic, familial, and platonic. This enchanting volume, published by Free Enterprise Publishers, is a heartfelt dedication to “men who are worthy of passionate and productive hearts,” signaling the poet’s deep respect and admiration for those who embrace love in its truest form.

Simply Romance is poised to become a cornerstone in contemporary poetry, resonating with readers across cultures and backgrounds. The collection is a testament to Ajakaye’s masterful ability to capture the essence of love through evocative language, striking imagery, and profound insights.

The foreword of the book, penned by Dr. Abayomi Awelewa, encapsulates the essence of Ajakaye’s work. He describes her voice as “akin to a gentle breeze on a summer’s day,” skillfully drawing readers into a world where love navigates the complexities of human experience. Dr. Awelewa emphasizes Ajakaye’s ability to illuminate the beauty and vulnerability inherent in love, creating a narrative that feels both personal and universally relatable. Readers will find themselves enchanted by the lyrical quality of her poems, which serve as a mirror reflecting the joys, sorrows, hopes, and longings of the human heart. The imagery is vivid, inviting readers to visualize the delicate moments of connection that linger long after the last page is turned.

Rashidat Afolashade Olamidayo Ajakaye is not just a poet; she is a trailblazer in the realm of literature and education. As a Graduate Assistant at the Department of Language, Arts, and Social Science Education at Lagos State University, Ajakaye has made her mark as a first-class graduate in English Education, breaking barriers that have stood for over four decades. Her passion for the arts and commitment to community development shine through in every line of her poetry.

Ajakaye’s journey as a creative-academic writer has seen her pen over 1,000 poems and contribute to both national and international anthologies. Her previous work, ‘Shattered Shadows of Youths,’ reflects the struggles and aspirations of contemporary youth, showcasing her versatility and depth as a writer.

In her acknowledgments, Ajakaye graciously recognizes the influential figures in her life who have fueled her passion for writing and education. From her parents, Alhaji Chief S. A. Ajakaye and Alhaja S. A. Ajakaye, who instilled in her the values of discipline and love, and a host of academic mentors including Dr. Mustapha Bello, Dr. Dimeji Olaniyi, and Mr. Abiodun Moshood, who have paved the way for her success; Ajakaye’s gratitude is palpable. Her commitment to uplifting others is evident in her founding of the STRIDA Club, a global community embracing creativity and literary expression.

As readers delve into the pages of ‘Simply Romance,’ they will encounter a delightful blend of playfulness and profound insight. Ajakaye skillfully balances moments of lighthearted humor with the weight of emotional vulnerability, creating a reading experience that is both enjoyable and thought-provoking. One of the standout features of this collection is the mutual respect and admiration that permeates the relationships depicted in her poems. The speaker in Ajakaye’s verses is not only deeply in love but also profoundly respectful of their beloved, enhancing the depth of connection that resonates throughout the book. This rare portrayal of love forms a refreshing narrative that emphasizes kindness, compassion, and the beauty of human emotions.

Simply Romance is more than a book of poetry; it is a celebration of the human spirit. Ajakaye reminds us that love is not merely a feeling but a conscious choice. Each poem serves as a gentle reminder that to love is to show up, to be present, and to care for others with openness and generosity. The collection encapsulates the idea that love is a journey, not a destination. As readers navigate through the verses, they will find themselves reflecting on their own experiences, recognizing the complexities and contradictions that define the human heart. Ajakaye’s poems evoke a sense of wonder and beauty, drawing readers into a world rich with emotion and connection. Whether one has loved, lost, or simply lived, Simply Romance offers something for everyone. It is a treasure trove of thoughts and experiences that leave readers feeling seen, heard, and understood. In times of uncertainty and chaos, Ajakaye’s words serve as a beacon of hope, illuminating the path through the darkest of times. Her poetry embodies the transformative power of love, reminding us that it is a choice we make every day.

In conclusion, ‘Simply Romance’ by Rashidat Olamidayo Ajakaye is a remarkable addition to the literary world—a collection that invites readers to explore the depths of their own hearts and the connections that bind us all. With its exquisite language, profound insights, and genuine exploration of love, this collection is destined to resonate with poetry lovers and casual readers alike. For anyone who has ever loved or longed for connection, Ajakaye’s work is a must-read. As we turn the pages of this beautifully crafted collection, let us embrace the journey of love together, celebrating the emotions that unite us in our shared humanity. Don’t miss your chance to experience this literary gem—Simply Romance is a poetic journey you will not want to miss. With its alluring themes and compelling verses, Rashidat Olamidayo Ajakaye’s ‘Simply Romance’ is sure to leave an indelible mark on the hearts of its readers, solidifying her place as a prominent voice in contemporary poetry.

© Abiodun Moshood O.

The post Breaking: Academic Trailblazer Rashidat Ajakaye Shatters Literary Silence With The Release of ‘Simply Romance appeared first on The Lagosian Magazine.

Renowned Nigerian photographer, Dayo Adedayo, has unveiled the DAP Experience Centre, a new cultural and creative institution aimed at preserving and promoting Nigeria’s visual history through photography.

Adedayo described the centre as a multi-dimensional facility combining a visual museum, archive, research library, and creative laboratory dedicated to documenting Nigeria and Africa’s cultural heritage. He noted that the project, conceived over two decades ago, was driven by the need to create a permanent institutional home for Nigeria’s visual memory.

According to him, the initiative follows over 30 years of documenting the country’s landscapes, people, and historical moments, resulting in an archive of more than four million images and several published works.

He explained that the centre is designed to support young photographers across Nigeria and West Africa by providing structured training, mentorship, access to rare archives, and exposure to global best practices in photography and visual storytelling.

Adedayo also highlighted the contribution of international collaborator Don Barber, whose donation of photography publications has significantly strengthened the centre’s research library, offering insights into the global evolution of the craft.

The facility integrates both traditional and modern photography techniques, preserving analogue methods such as darkroom practices while embracing emerging technologies including artificial intelligence, drone imaging, and mobile photography.

Located in Lagos, the centre is expected to boost cultural tourism and creative industry development by attracting scholars, students, researchers, and international visitors. Adedayo said the project would contribute to job creation, foster innovation, and position Lagos as a leading hub for arts and culture in Africa.

He added that the centre features immersive exhibition spaces, interactive installations, training studios, and a comprehensive archive showcasing Nigeria’s photographic history. It also includes unique attractions such as themed experience rooms, a projection theatre, and an innovation lab focused on future imaging technologies.

On funding, Adedayo disclosed that the project was financed through a combination of personal investment, private support, and strategic partnerships, while emphasising that its true value lies in its cultural and intellectual significance.

He further revealed plans to sustain the institution for the next 50 to 100 years through digital preservation systems, educational partnerships, and an endowment structure.

Adedayo expressed optimism that the DAP Experience Centre would serve as a transformative space for learning, creativity, and cultural preservation, adding that the initiative marks the beginning of broader expansion plans across Nigeria.

The post Adedayo Unveils DAP Experience Centre After 23-Year Vision to Preserve Nigeria’s Visual Heritage appeared first on The Lagosian Magazine.

Am I a proud woman?

I begin as a cheerful child chasing butterflies in her father’s compound,

an inquisitive child learning the language of the world.

Am I a proud woman?

After relatively long years of nurturing,

I become a daughter dedicated to the pride of her parents,

even with the threats of sexual proposals and faceless promises.

Am I a proud woman?

Sometimes, I do not become a sister

but all times…I become a friend to myself and others,

reinvesting my attention for others to select right life decisions

from the dilemmas of passion and social expectations.

Am I a proud woman?

I am as educated as the walk of time,

tí a bá kọ́ obìnrin ní ẹ̀kọ́, a ti kọ́ ẹgbẹ̀rún ènìyàn.

I do not just parade the house with my office hills,

my native intelligence is dearest to me,

if not for women, the tables would be under the chairs.

Am I a proud woman?

Just as an octopus multitasks with different arms,

I multitask!

I become a worthy wife and a dear daughter-in-law.

Saving my pride for countless “I am sorry”.

Saving the dance steps of my home

for the drum beats of my husband’s home.

Am I a proud woman?

In this shell, I become a mother,

being the closest confidant and philosopher of my children,

when our children want to wander wild,

I know the way to ring the caution bell.

Am I a proud woman?

Obìnrin tí ó bá jẹ́ olóòótọ́ ní ilé, yóò jẹ́ olóòótọ́ níta.

I am a teacher,

thousands taught me and I teach a country,

a country for free not only paying students.

Am I a proud woman?

I am an entrepreneur,

I am a tree that births a forest,

luck or work…I promote positive possibilities

when I listen to fertile but unloved ideas.

Am I a proud woman?

With all my prosperous transformations within the elastic shell

of childhood, motherhood, grannyhood, great grannyhood…

I am a philanthropist,

for I fill the gaps of wealth recreation in my society and beyond.

Am I a proud woman?

Today, I brag my gender in honour,

I am a proud woman,

yes, we are proud women.

Happy International Women’s Day!

© RASHIDAT OLAMIDAYO AJAKAYE

STRIDA… guiding you to striking confidence in academic and creative writing!

2026

The post Happy International Women’s Day. Ode: “AM I a Proud Woman?” appeared first on The Lagosian Magazine.