The Bank has put in place all necessary arrangements to ensure a seamless, secure and memorable experience for exhibitors and attendees, further underscoring its commitment to promoting African creativity, entrepreneurship and intra-African trade.

Among the international exhibitors confirmed for this year’s edition are Creative Hub Africa and Shades of Class from Sierra Leone, Drame Khadidatou from Senegal, Tampoori from Ghana, and Naylah Collection from the Republic of Benin. Their participation highlights the growing continental appeal of the Ecobank Adire Lagos Experience as a platform for cultural exchange, business collaboration and market access across Africa.

The event will also feature more than 100 exhibitors and vendors, including leading Nigerian brands such as Obida Design Associates, This Is Us, Imani Kids, Ashabi Fads, E25Dresses, Miné by Ejiro Amos Tafiri, Buss Fabrics Store, Aina Aladire and many others, showcasing the richness of African craftsmanship, innovation and entrepreneurship.

Speaking on the Bank’s preparedness for the event, Head of SMEs, Partnerships and Collaborations at Ecobank Nigeria, Omoboye Odu, said all arrangements have been successfully concluded to deliver a rewarding experience for exhibitors, partners, customers and visitors throughout the four-day fair.

According to her, attendees can look forward to a vibrant showcase of fashion, craftsmanship, art, music, culture and entrepreneurship, with participants drawn from Nigeria and several other African countries.

“We are fully prepared and excited to welcome guests from across Nigeria and the African continent to another edition of the Ecobank Adire Lagos Experience. From exhibition spaces and cultural showcases to networking opportunities and customer engagement activities, every necessary arrangement has been put in place to ensure a seamless and rewarding experience for all attendees,” Odu said.

She added: “The Ecobank Adire Lagos Experience continues to evolve as a unique platform that connects creatives, entrepreneurs and consumers from across Africa. Attendees can look forward to exceptional products, interactive sessions, entertainment, cultural exhibitions and valuable opportunities to build relationships, explore new markets and expand their businesses.”

Over the years, the Ecobank Adire Lagos Experience has grown into one of Nigeria’s foremost platforms for promoting indigenous textile production, supporting small and medium-sized enterprises, and showcasing the ingenuity of African creatives. The event has also played a significant role in expanding market access for businesses while preserving and celebrating Africa’s rich cultural heritage.

Beyond the exhibition, participants will have opportunities to network, explore business partnerships, discover unique products and experience the diversity and vibrancy of African culture. The event is open to the public, and visitors can look forward to an immersive experience that seamlessly blends tradition, innovation, fashion, enterprise and entertainment in a grand celebration of Africa’s creative economy.

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Dr John Asein, NCC Director-General, who disclosed this in an interview with the News Agency of Nigeria (NAN) on Monday in Abuja, said that the material included suspected pirated books and contrivance.

He said the commission also arrested  57 copyright violators.

The location of the pirated contrivance included Abuja, Lagos, Ibadan, Port Harcourt, Makurdi among others.

According to him, the year 2025 represented a critical consolidation phase for the commission.

“Within the year, the commission recorded measurable achievements in institutional strengthening, enforcement, prosecution, public education and regulatory oversight.

“At the same time, it confronted enduring structural, legal and technological challenges that underscored the complexity of copyright administration in the nation’s digital and informal economy,” he said.

Speaking on the institutional capacity and organisational strength in 2025, Asein said NCC prioritised human capital development as a cornerstone for effective copyright administration.

He further said that the commission has conducted in-house trainings and professional workshops to enhance staff competence in copyright administration, enforcement procedures, communication, and emerging intellectual property issues.

”NCC facilitated engagements on Artificial Intelligence (AI) and copyright, focusing on policy implications, rights ownership and enforcement challenges associated with AI-generated content”

Asein said that the commission also collaborated with universities, research institutions, and government agencies to expand knowledge on intellectual property, innovation and the creative economy.

“These efforts strengthened institutional readiness and positioned the Commission to respond more effectively to evolving copyright challenges.

“NCC sustained its role as a key policy actor in Nigeria’s copyright ecosystem throughout 2025 in policy and legal framework development,” he noted.

NCC boss further explained that commission implemented nationwide copyright awareness campaigns through public events, traditional media engagements and digital platforms.

He noted that the commission also produced educational contents and programmes such as the “Copyright Connect” series, “Creative Icon,” designed to recognise and celebrate creatives on the various social media platforms.

” Commission participated in cybercrime awareness campaigns and national consultations, reinforcing collaborative responses to digital copyright infringement”.

Asein emphasised that the commission faced several persistent challenges in the area of piracy and Infringement.

According to him, the continued sale and distribution of pirated books and creative works, both offline and online necessitated repeated enforcement interventions.

“Difficulty in tracing legitimate sources and limited cooperation from some traders and printers hindered regulation.

“The growing sophistication of online piracy platforms and the rapid emergence of AI, generated content introduced new regulatory and enforcement complexities,” he said.

Asein further said that under the year reviewed,  NCC strategically focused on advancing copyright protection within an increasingly complex creative and digital environment.

Through strengthened capacity, expanded enforcement, sustained public education and robust partnerships, the Commission reinforced its mandate to protect creators’ rights and promote a lawful creative economy.

“At the same time, the challenges encountered during the year, highlights the need for continued investment in technology, legal reform, stakeholder engagement and inter-agency collaboration,  as Nigeria’s creative industries continue to grow and digitise,” Asein said.

He expressed the Commission’s commitment to continue to operationalise  the provisions of the Copyright Act, 2022, while responding to rapid technological changes, persistent piracy and growing stakeholder expectations within Nigeria’s creative economy.

Dr  Usman-Oladipo Akanbi, President, Association of Nigerian Authors (ANA), said NCC  has maintained an efficacious collaboration and discharged its duties commendably.

Akandi said that representatives of NCC always attend their  annual convention to appraise authors.

He  noted that the knowledge imparted by the commission has been salutary.

“Notwithstanding, the most insidious threat to intellectual property rights is posed by the social media and digital real.

“There exists an imperative to devise a mechanism whereby creators can derive revenue from online readership, particularly in instances where their work has been pirated or copyright infringements have occurred.

” This is an area where I humbly suggest the Copyright Commission can focus its efforts on,” he said.

Mr Sulaiman Mohammed, President of Society of Nigerian Artists (SNA), said fight against piracy just turned out as a game-changer for artists  in Nigeria.

According to him, it is about artists getting paid for their work, so they can keep creating  for a fair compensation.

” It  encourages creativity by knowing that artistes works are protected and help them to produce quality content.

“This  is the rebounding effect of earning from royalties licensing and sales with the recent push from NCC  and the collaboration it signed on piracy law with the National Gallery of Art that the SNA witnessed,” he said.

Similarly,  Mr Adesola Akinsanya, President of Nigeria Internet Registration Association (NIRA) commended NCC’s consistent leadership and commitment to online copyright enforcement and acknowledged the D-G’s proactive initiatives.

Akinsanya expressed optimism that the Digital Trust Anti-Piracy Champion award received by the commission would spur it to sustain and expand its efforts.

He also lauded the NCC’s interventions and promotion of a safer digital space.

He said that NIRA’s recent suspension of several illegal domains hosting unauthorised copyright content was enabled by data provided by the NCC.

NAN

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He described the nearly 40-foot-high Eyo monument as a powerful symbol of Lagos’ heritage and a major boost to the state’s cultural tourism drive, which will serve both educational and tourism purposes and contribute to the economic and cultural development of the State.

Speaking at the commissioning ceremony, Governor Sanwo-Olu said the monument represents the essence of Lagos culture and identity, noting that its location within the John Randle Centre for Yoruba Culture and History, Onikan, makes it a fitting landmark for preserving and showcasing Yoruba art, history and tradition.

Governor Sanwo-Olu, who noted that Eyo as a cultural symbol tells the story of Lagos to the world, said the newly commissioned monument will serve as a unique attraction where visitors can learn, take photographs and share the history of the state.

He disclosed that the installation of the Eyo monument reinforces Lagos’ commitment to protecting its cultural assets while positioning the State as a global destination for arts and heritage tourism.

Governor Sanwo-Olu commended the curator of the monument, Dotun Popoola, for his craftsmanship and intellectual depth, describing the work as a reflection of Nigerian creativity and excellence, noting that the project demonstrates how indigenous talent can be harnessed to interpret and preserve history through art.

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He said the John Randle Centre for Yoruba Culture and History offers a complete cultural experience, with facilities including exhibition spaces, an amphitheatre, a village square, a gift shop and other creative activations designed to immerse visitors in Yoruba culture.

Governor Sanwo-Olu, while acknowledging the support of the Ministry of Tourism, Arts and Culture, stakeholders and traditional institutions, particularly the Oba of Lagos, Oba Rilwan Akiolu, said the collaboration between government, cultural institutions and traditional authorities is essential for sustaining Lagos’ rich cultural legacy.

Speaking earlier, the Chief Executive Officer of the John Randle Centre for Yorùbá Culture and History, Qudus Onikeku, described the Eyo monument as a major cultural achievement for Lagos.

He said the structure was intentionally designed to allow visitors to explore its interior, where the story of Lagos, its communities and its history will be showcased through exhibitions and installations.

Onikeku noted that the monument, created by curator and renowned Nigerian artist, Dotun Popoola, stands on a six-foot base and rises to almost 40 feet, making it the tallest of its kind in Lagos State.

He disclosed that plans are underway to produce a documentary film chronicling the story of the monument, the Eyo tradition and the broader cultural heritage of Lagos, adding that the project will deepen public engagement with the state’s history.

Also speaking, the curator, Dotun Popoola, said the Eyo monument was conceived as a storytelling structure that reflects the diverse areas and historical journey of Lagos.

He explained that visitors will be able to climb into the monument to explore curated spaces and visual narratives that interpret the state’s cultural evolution.

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The initiative, led by Angel Okwuosa, a young lady inspired by African culture, reflects the company’s mission to blend literature, art, and cultural preservation while creating accessible storytelling formats for younger audiences.

Speaking at the launch, Okwuosa said “We  aims to build a platform that showcases African stories, mythology, and history through graphic novels, films, and other artistic forms.

“We want to export Nigerian culture to the world and provide a platform for artists to showcase African stories and promote our culture globally,” she said.

On her plans to grow the company, she added: “We’re not just looking for financial investment; we’re looking for partners who share our vision and are willing to join us on this journey. We’re committed to creating high-quality content that celebrates African stories and promotes our culture to the world.”

Inspired by her initiative, Tonye Cole, Co-founder and former Group Executive Director of Sahara Group, said the project has the potential to transform narratives and elevate African storytelling.

He emphasized the importance of reclaiming and projecting authentic African voices. “For too long, others have told our stories, shaped our narrative, and determined what we are,” he said. “It’s time for us to take control of our narrative and tell our own stories. Umuada Productions is a step in the right direction.”

Cole, who was the chairman of the event described the event as a celebration of the dreams of an individual who has refused to be limited by circumstances.

The event drew a diverse audience, including entrepreneurs, relatives, and notable dignitaries.

With its bold debut, Umuada Productions signals a promising new direction for African storytelling and pays tribute to Flora Nwapa’s enduring legacy

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Holloway said the move represents “the return of a huge part of Nigeria’s history.”
“As much as this occasion is symbolic to Benin, it is also symbolic to Nigeria’s struggle,” he added.
The Benin Bronzes are hundreds of sculptures and plaques that were looted from the royal palace in the Kingdom of Benin, part of modern-day Nigeria, after British forces captured Benin City in 1897.
The priceless artworks, believed to have been crafted in Benin starting in the 1500s, were taken as spoils of war and today are scattered in museums and private collections across the world.
Western museums, including those in Britain, the Netherlands, and Germany, have returned several hundred of the artefacts, but hundreds more are believed to be still missing.
Benin’s traditional rulers and Nigerian authorities have for years been negotiating their return.
Calling the returns from the Boston museum a “historic moment,” Nigeria’s culture minister, Hannatu Musa Musawa, said those “conversations” were ongoing, and soon, the process of returning them all to their rightful owners will begin.”
Recall that Benin Bronzes have been a source of tension within Nigeria, with Benin’s traditional ruler, the Oba, insisting that the artifacts’ belong to him as the ruler of Benin and the descendant of the royal family from whose palace they were plundered.
Benin authorities fear that the newly constructed Museum of West African Arts (MOWAA) in Benin City would be in charge of the artworks. The museum’s leaders have denied that this was their intention.

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The unveiling signifies the official reopening of the cultural landmark.
President Tinubu arrived at the venue around 6:24 p.m. on Wednesday for the reopening ceremony and led a distinguished gathering of state governors, members of the National Assembly, the diplomatic corps, captains of industry, academics, cultural ambassadors, and youth leaders.
The renovation of the National Theatre was undertaken by the CBN and the Bankers’ Committee as part of their commitment to giving back to the nation.
The Federal Ministry of Arts, Culture, and Creative Economy provided policy direction and oversight, guiding the transformation of the facility into a national asset and a launchpad for Nigeria’s creative industries.
Recall that Tinubu had in July 2024 renamed the edifice the Wole Soyinka Centre for Culture and Creative Arts in honour of the Nobel Laureate.
The Lagos State governor, Babajide Sanwo-Olu had said that the Wole Soyinka Centre for Culture and the Creative Arts will not only be for arts, tourism, and culture but will also provide a venue for the international community to convene for conferences and enjoy world-class performances.
“This facility will serve as a premier destination, comparable to any world class conference center, with a unique infusion of arts and culture,” the governor had said during an inspection of the facility in August 2024.

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Ahuja Bello, it was gathered, passed away early hours of Today, a day after celebrating his 83rd birthday.
His death was confirmed on Monday, 25 August, 2025 in a tribute post on Facebook by his daughter, Bello Festus Aderemi.
“Rest in peace my lovely dad, Alhaji Ahuja Bello.
His band page, with the username Ahuja Bello and His Golden Eagles Band, also confirmed the news, saying, “Though you are gone, your light continues to shine in our hearts. RIP Ahuja Bello.”
Born Ismaila Dele Bello on August 24, 1942, in Iseyin, Oyo State, Ahuja Bello carved out a name for himself as a celebrated Juju singer, guitarist, and band leader during the 1970s and 1980s.
Before venturing fully into music, Bello worked as an electronic technician. In 1976, however, he pursued his passion by founding Ahuja Bello and His Golden Eagles Band, a group that would go on to dominate the Juju music scene.
He was widely admired for his vibrant stage presence and evergreen hits such as Awa ti Danfo and Ariya ti de. In 1979, he traveled to London to record Ahuja in London, an experience that brought him into contact with global stars, including reggae legend Bob Marley.
Although his career was tragically disrupted by an accident on July 24, 1982, just weeks before his 40th birthday, his legacy remained intact, securing him a revered place in Nigeria’s rich musical history.

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Mr Charles Amudipe, the Deputy Director of Operations/Head of Operations of the commission in Lagos office,  who led the team, said that  the NCC carried out an anti-piracy action in Yaba Book Market, Lagos.

“During the said anti-piracy operation, five bookshops and three warehouses(parking stores, where suspected pirated books were stored around Yaba market were visited.

“Materials suspected to be pirated were seized and owners of those bookshops were arrested, ” he said.

Amudipe also said that the team visited warehouse(parking stores), Chuks, Edu and Don mekus bookshops, all in Yaba area of Lagos state.

”The anti-piracy raid is to send a signal to the public that the commission has upscaled it’s enforcement activities.

“The commission warns booksellers, schools, printers and all those who deal in copyright materials that the commission will not tolerate piracy in any form, ” he said.

He noted that the commission was aware that pirated books were being pushed directly to schools for sale.

”Any school found aiding the sale of pirated books  will be treated as a book pirate.

“The commission hereby mandates all printers, booksellers and schools who deal in books to have adequate documentation on the source of the books they are dealing in.

“Any printer who does not keep the expected records according to the copyright act, will be severely dealt with.

‘All those who engage in book selling should have proper receipts as evidence for their purchase from the right source, ” he said.

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He said the Centre, formally known as the National Arts Theatre, Iganmu, would soon be completed and ready for public use.

Governor Sanwo-Olu spoke on Sunday during an interview with journalists after he led some state officials and stakeholders on a tour of the theatre in Iganmu.

Sanwo-Olu said the newly transformed Wole Soyinka Centre for Culture and the Creative Arts, which can be compared to the World International Centre, would be completed in about four months.

The Governor also commended the Bankers Committee and stakeholders in the creative sector, which collaborated with the Lagos State Government to transform the National Arts Theatre to bring back the glory of the edifice to meet international standards.

Governor Sanwo-Olu who was very excited by the transformation in the Centre in the last four years, said that when completed, the Wole Soyinka Centre for Culture and the Creative Arts would promote arts, tourism, and culture, adding that it would also be a place where the international community could converge for conferences and host world-class performances, among other activities.

He said: “I am truly excited at the work the Bankers Committee has been able to do. They have truly shown us that when we put our minds to things as a country and as a people, we can get the best out of ourselves. 

“When we all came here four or five years ago, we were discouraged and saddened by what we saw at one of our national treasures. But what has happened in the last four to five years, and with what we see today during our tour, we have brought back the old glory even in a bigger, better, and more transformative way. I commend all the professionals and companies that have put this together. 

“I think it is going to be a place where international audiences will see that we are ready to take the world by storm in entertainment, tourism, creativity and, more importantly, business conferences and seminars that we all go to attend in other parts of the world.

“It is a one-stop shop that has everything you can imagine, comparable to any other world conference centre. It also has an additional flavour of arts and culture. By the way, the Blue Line train that we built all around here speaks to the entire infrastructure that has made this place a complete stop for Nigerians.

“The newly rebirth Wole Soyinka Centre for Culture and the Creative Arts is on the way to open its door to the public, courtesy of the Lagos State Government and the Bankers Committee that have done the work.

Also speaking to journalists, the Special Adviser to the Governor on Tourism, Arts and Culture, Mr. Idris Aregbe, said the Wole Soyinka Centre for Culture and the Creative Arts, when completed, would compete favourably with the international community as a tourist attraction.

Aregbe said it would also promote the entertainment industry, take a lot of youth off the street, and generate employment opportunities for many Nigerians in the creative industry.

He said: “We are doing everything possible to ensure that the tourism, entertainment, and creative industries in Lagos are truly rising. Governor Sanwo-Olu is doing a lot for the people. The Centre is a huge one for citizens of Lagos.”

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FBN Group Head, Public Sector West, Dr Timothy Arowoogun, said this in Ibadan on Tuesday at the recreation of a stage play, “Oke Langbodo”, at the Wole Soyinka Theatre, University of Ibadan (UI).

According to Arowoogun, the bank believes anything linked with creative arts is a big business to be supported.

“As a bank, we have aligned ourselves with creative arts in Nigeria and Africa because FirstBank is a global institution and we believe that we can sponsor the industry.

“It is like the Small and Medium-Scale Enterprises (SMEs), which is one of our core areas of support.

“In Nigeria, without supporting the real sector, which creative arts, we believe, is part of it, we can’t go anywhere,” he said.

He said to bring down the rising foreign exchange, Nigeria needed to build and support its SMEs to export goods and services thereby limiting the level of importation.

Similarly, FBN Head of Media, External Relations and Sustainability, Ismail Omamegbe, said the bank would continue to sponsor components of the creative industry to promote SMEs.

“A platform of arts is not peculiar to Yoruba folklore but it could be Igbo or Yoruba; it has to be able to drive unity and coming together.

“It has to typify or exemplify what Nigeria stands for,” he said.

Otunba Ayodeji Osibogun, the Executive Producer of the stage play and Chief Executive Director, Creazioni Network, said FirstBank, under its First@Arts initiative, partnered with his company to produce the play.

“Oke Langbodo is a Yoruba folklore that has been adapted into various forms of literature, including plays, novels, and poems.

“The story is often seen as a metaphor for life’s journey, with Langbodo representing the human spirit’s resilience in the face of adversity.

“Oke Langbodo was initially created in 1977 and it’s being reproduced by Creazioni Communications with the theme that addresses human existence,” he said.

He stressed the importance of youth involvement in everything being done in the country, especially as displayed by the bank in bringing the production to the Department of Theatre Arts, UI.

According to him, the initiative will ensure that tomorrow’s artists are involved and ready to replace the Nollywood actors and actresses.

“We are talking about moving people from the movie to the theatre, so who is going to run the theatre?

“So, FirstBank and Odu’a are already thinking about tomorrow, that is why we are here,” Osibogun said.

Meanwhile, the Oyo State Commissioner for Culture and Tourism, Dr Wasiu Olatunbosun, reiterated the importance of promoting culture and supporting the development of creative industry in the state.

NAN reports that Oke Langbodo, a legendary tale of courage and resilience, was inspired by the timeless classic, “Ogboju Ode ninu Igbo Irunmole” by D.O Fagunwa.

It was reimagined in English as “Forest of a Thousand Demons” by Prof. Wole Soyinka and brought to life on stage by Wale Ogunyemi during Festac 77 as “Lagbodo”.

Oke Langbodo was recreated as a collusion of ancient legends with modern technology of immense digital and technological experiential possibilities.

NAN

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