The Authentic Global Film Awards, set to take place on May 21, 2025, celebrates groundbreaking storytelling and cinematic excellence. Osaze’s nomination not only highlights his creative prowess but also positions “Ema/Ude” as a standout work in the competitive landscape of global filmmaking.

In addition to the honor of nomination, “Ema/Udeh” is now eligible for non-exclusive distribution on Authentic TV (ATV), a platform dedicated to showcasing exceptional films to a worldwide audience.

As part of the nomination, the documentarist and renowned festival manager has been invited to attend the festival and awards ceremony in person.

Dr. Gershom Sikaala, representing the festival, extended warm congratulations to Osaze, stating, “This nomination honours your creative achievement and invites you to share your story with the world.”

The film explores the Ema/Udeh traditional tattoo of the Esan people in Edo State, Nigeria, which serves as both a curative and artistic practice, particularly for treating splenomegaly (swollen spleen). Beyond its medicinal, aesthetic, and spiritual significance, this ancient practice has persisted into the 21st century, sparking global interest and debate despite the dominance of modern medicine. The documentary explores key questions: How does Ema/Udeh compare to modern tattoos? What makes it a preferred treatment over orthodox medicine? Is splenomegaly endemic to Esan people, and how do others address it? Can this practice align with global health standards?

The film engages diverse perspectives, including practitioners, locals, academics, and medical experts, fostering dialogue to improve healthcare synergy. Ema/Udeh not only treats ailments but also transforms the body into a canvas, blending healing and artistry. This convergence of art and medicine highlights the dual role of Ema/Udeh artists as healers and creators, preserving cultural heritage while addressing health needs. The practice underscores the potential for traditional methods to coexist with modern healthcare, offering a unique model for holistic well-being.

The National Theatre of Nigeria, an iconic edifice and cultural landmark, was conceived as the heart of artistic expression and national identity. Since its establishment in 1976, it has served as a symbol of Nigeria’s artistic vibrancy, hosting landmark performances, festivals, and exhibitions that celebrated the nation’s rich cultural heritage. However, the refusal of the Bankers’ Committee and the Nigerian government to reopen the theatre to the public has led to a severe cultural and artistic drought, stifling creativity, limiting artistic opportunities, and crippling an entire industry that relies on the existence of such a space.

A Betrayal of Culture and the Arts

The decision to keep the National Theatre closed to artists and the public is a glaring contradiction of its original purpose. When the Bankers’ Committee took over its renovation under the Creative Industries Initiative, the promise was clear: to revamp the structure and reinvigorate Nigeria’s creative economy. However, what was supposed to be a revitalization project has instead become a systematic exclusion of the very people the theatre was built for. Rather than being a space where Nigerian artists, actors, musicians, and creatives can gather, collaborate, and showcase their talents, the theatre has become a restricted zone, accessible only to select individuals and events.

This exclusion is not only detrimental but also insulting to the cultural sector, which has long suffered from governmental neglect. The arts, by their very nature, require space to breathe, grow, and thrive. The denial of access to such an important cultural landmark is akin to locking away a nation’s soul. Without open access, the National Theatre ceases to function as a national institution; instead, it becomes an elitist property controlled by financial interests with no direct stake in the artistic community.

The Devastating Consequences on the Cultural Sector

The creative economy in Nigeria, particularly the performing arts, is already facing infrastructural challenges. With very few performance spaces, artists are left scrambling for venues, often resorting to inadequate, expensive, or inappropriate locations. The National Theatre was meant to be a sanctuary—a space where new works could be developed, talents nurtured, and audiences engaged. Its continued closure has resulted in:

1. Loss of Performance Spaces – Without access to the theatre, major productions that require a standard performance hall are left without options. This affects stage plays, musical performances, dance recitals, and even film screenings that could benefit from a world-class venue.
2. Economic Impact on Artists and Cultural Workers – The creative industry employs thousands of Nigerians, from playwrights and directors to stagehands and technicians. The absence of a functioning National Theatre means fewer jobs, fewer productions, and an overall decline in economic activity within the sector.
3. Erosion of Cultural Identity – Nigeria’s artistic legacy is built on storytelling, performance, and shared cultural experiences. By keeping the National Theatre closed, the government and financial institutions are actively contributing to the erasure of this identity, forcing artists to seek alternatives that do not fully honor their craft.
4. A Decline in Audience Engagement – One of the key functions of the theatre is to serve as a bridge between artists and the public. If the public is denied access to performances, exhibitions, and cultural events, there is a gradual disconnect between the people and their cultural expressions. This weakens the appreciation and sustainability of the arts in Nigeria.
5. International Disrepute – Nigeria, as the cultural powerhouse of Africa, should have a thriving national theatre that attracts international collaborations and festivals. Instead, the closure paints a picture of a nation that does not value its artistic sector, pushing away potential investors, sponsors, and global partnerships.

The Way Forward: Reclaiming the National Theatre

It is unacceptable that a public institution meant for artistic development is kept away from the very people it was built to serve. The Bankers’ Committee and the government must immediately take the following steps:

• Reopen the National Theatre to the Public – Access should not be restricted. The theatre must function as an open and inclusive space where artists can rehearse, perform, and engage audiences.

• Establish an Independent Cultural Management Body – The administration of the theatre should not be left in the hands of financial institutions. A board comprising artists, cultural professionals, and government representatives should oversee its operation to ensure that it remains dedicated to the creative community.

• Implement a Clear Artistic Policy – The government should articulate a policy that guarantees regular programming of plays, concerts, exhibitions, and other cultural events at the theatre. This policy should encourage inclusivity and affordability.

• Develop Additional Cultural Infrastructure – Beyond reopening the National Theatre, the government must invest in other creative spaces across the country to decentralize artistic opportunities and ensure that culture thrives at all levels.

Conclusion

A National Theatre that is not open to the people is a contradiction. The continued refusal to grant artists and cultural workers access to the theatre is a betrayal of Nigeria’s creative spirit. If the government and the Bankers’ Committee are serious about fostering a thriving creative economy, they must prioritize access, inclusivity, and artistic expression. The National Theatre is not just a building; it is the heartbeat of Nigeria’s cultural identity. Keeping it closed is not only stifling the arts but also silencing a generation of creative voices that deserve to be heard.

Adeniran Makinde, fta.

This follows on the Consent Judgement of a Lagos High Court in Suit No: LD/6903GCM/2023: Isale-Eko Descendants Union & 2ORS V Amazon Web Services & 11 ORS.

In 2023, the IDU took legal action against the producer of the movie and sought a hefty fine of ₦10 billion after expressing its dissatisfaction with the portrayal of Isale Eko (Lagos Island) as a haven for criminals and the Eyo masquerades being depicted as murderers.

Today, Justice Idowu Alakija of the Lagos High Court endorsed the Terms of Settlement entered into by the Isale Eko Descendants Union (Applicants) and Amazon Web Services (Defendant) along with 11 other Defendants as a Judgement of the Court.

Reacting to the judgement in a press statement, Mr Adeniji Kazeem SAN, FICArb, Chairman of the Isale-Eko Descendants Union, said the judgement has proven that there are inalienable cultural rights that accrue to indigenous communities that need to be vigorously protected.

“We feel vindicated by this judgement and thank the Court system and the office of the Lagos State Attorney General for the positive role it played in resolving this dispute,” he said.

The statement reads in full:

Today is a great day for the Isale-Eko Community of Lagos State, All indigenous Communities of Lagos and Lagosians generally.

Today, the relatively small community of Isale – Eko in Lagos State was able to establish that along with other rights, there are inalienable cultural rights that accrue to indigenous communities that need to be vigorously protected. Indeed the 2007 United Nations Declaration on the rights of Indigenous Peoples (UNDRIP) states amongst other things that the culture of indigenous people must be protected.

That indigenous people have intellectual property rights in their culture and there can be no exploitation or usage of those rights without the express permission of the indigenous communities.

Today, Honourable Justice Idowu Alakija of the Lagos High Court has endorsed the Terms of Settlement entered into by the Isale Eko Descendants Union (Applicants) and Amazon Web Services (Defendant) along with 11 other Defendants as a Judgement of the Court.

The judgement amongst other thing provides that:

1. The 3rd – 11th Respondents (the Film Producers) shall jointly issue a letter recognizing the Applicants position that the Movie titled “Gangs of Lagos” erroneously portrayed and disparaged the cultural heritage of the well respected Eyo Masquerade and the peace-loving nature and the long-standing traditions of the Isale-Eko People, and shall therein, tender an unreserved apology to the Applicants – Isale Eko Descendants Union in this regard.

2. The 12th Respondent (Amazon Web Services Nigeria Limited) shall issue on its: Letter Head, a letter recognizing the Applicants’ (Isale Eko Descendants Union) position that the Movie titled “Gangs of Lagos” erroneously portrayed and disparaged the cultural heritage of the well-respected Eyo Masquerade and the peace-loving nature and the long-standing traditions of the Isale-Eko people, and shall therein, tender an unreserved apology to the Applicants in this regard.

We feel vindicated by this judgement and thank the Court system and the office of the Lagos State Attorney General for the positive role it played in resolving this dispute.

However, we must state that the National and State Film censors must be more vigilant in the scrutiny of Films that are licensed for viewing either on physical screens or on digital platforms beaming into the Nigerian digital space.

Furthermore, we assert that there are strong imperatives for Lagos State to revisit its Constitutional rights to properly oversee the production and censorship of Films utilizing its cultural material and resources.

Finally, I thank our Royal Father Alaiyeluwa Oba Riliwanu Akiolu 1 (Oba of Lagos), o ur Legal team led by Mr. Supo Shasore SAN, the Isale Eko Descendants Union Trustees, Elders, Members and all well-meaning Lagosians who gave both physical and spiritual support.

It will be screened twice in Johannesburg, on Wednesday March 12 at Theatre on the Square, Sandton City, 8pm; and on Saturday, March 15 at the Nu Metro Cinema in Hydepark, at 1pm.

Same day, Saturday March 15, the film will also be at the African Film Festival, Atlanta, USA, where it will be screened from 3pm at the Cinefest Film Theatre 66 Courtland Street Southeast #262 Atlanta, GA 30303.

Organised by the African Film & Arts Foundation Inc. (AFAF), the AFFATL, among other objectives, aims to “magnify and celebrate the visions, voices, lives and stories of people from Africa and the African Diaspora through the lens of film & the arts.”

The current screenings across the seas, are coming on the heels of its outing at the renowned Pan African Film Festival, PAFF, February 4-17 in Los Angeles; and at the famous “Nollywood in Hollywood”, the famous film exhibition project that spotlights Nigerian movies in the heart of Hollywood where it was “Opening Film” held at The Egyptian Theatre, considered one of Hollywood’s most prestigious film exhibition centres.

The Jo’Burg Film Festival (JFF) outing is the first time the film will be in the Southern part of Africa, having done two times each in Northern and Western parts of the continent.
The promo from the directorate of the Jo’Burg Film Festival reads:
Wole Soyinka’s gripping prison memoir comes to life in The Man Died, a powerful autobiographical film that digs into the Nobel Laureate’s harrowing imprisonment without trial under a brutal military regime. A story of resilience and resistance, the film shows Soyinka’s unwavering defiance against oppression. Set to screen at the 7th edition of the Joburg Film Festival (March 11-16, 2025), the film has already made waves on the festival circuit, securing multiple awards.

Directed by Awam Amkpa and produced by Femi Odugbemi under Zuri 24 Media, ‘The Man Died’ boasts a stellar cast featuring Wale Ojo, Sam Dede, Norbert Young, Ropo Ewenla, and Kelechi Udegbe.

The film has earned prestigious accolades, including ‘Best African Film That Tackles an Important African Issue’ at the 14th Luxor African Film Festival in Egypt. It also won ‘Best Screenplay’ at both the African International Film Festival (AFRIFF) in Lagos and the 35th Carthage International Film Festival in Tunis. Additionally, it claimed the ‘Best Audience Choice Award’ at the Eastern Nigeria International Film Festival (ENIFF) in Enugu.

Founded in 2019, the Jo’Burg Film Festival, promoted by Multichoice, is one of Africa’s most influential film festival celebrating the best of cinematic works from across the continent. About 45 films are featuring in the 2025 edition. The TMD is in competition on the long feature category.

After Atlanta and Jo’Burg, The Man Died is also on the bill for the following outings:
April 23-May 18 — African and African Diaspora Film Festival (Festival de Cine Africano y de la Diáspora – FeCADA-), Costa Rica.
May 7-13 — 32nd New York African Film Festival. NYAFF32, New York
June 13-15 — African Diaspora International Film Festival (ADIFF), Chicago, USA
July 9-12 – African Theatre Association Conference 2025, Stuttgart, Germany (July 11)
August – African Diaspora International Film Festival (ADIFF), Washington, DC

The Man Died… the journey so far
THOUGH yet to be officially released to the market, The Man Died, written by UK-based Bode Asiyanbi, directed by New York-US and Abu Dhabi, United Arab Emirates-based Awam Amkpa and produced by Lagos, Nigeria-based Femi Odugbemi for Zuri24 Media, since its “special-premiere” on July 12, 2024 in Lagos to commemoratethe Nobel laureate dramatist, poet, essayist and human/civil rights activist, Soyinka’s 90th birthday, has had a series of home runs including on October 5 at the Quramo Festival of Words, QFest 2024, Lagos; and the Lagos Book & Art Festival, LABAF on November 14.
It began its global tour in London in July 2024 as part of the Wole Soyinka at 90 celebrations jointly organised and hosted by the Africa Centre and the Wole Soyinka International Cultural Exchange, WSICE. It returned to same London in October as part of the African Film Festival and also had an educational screening at the University of East Anglia, Norwich. It was screened on October 11 on the ‘Accra Streamfest’ bill of the “Labone Dialogues”, hosted by New York University, NYU Accra.
Produced by Zuri 24 Media, The Man Died, according to the synopsis on its website — www.themandiedmovie.com — is the story of Wole Soyinka’s 27 months incarceration by the Nigerian government in 1967 at the cusp of the civil war. He was famously seeking a truce between Biafra and the Federal Government to allow time for a negotiated settlement of the conflict. It is fundamentally a personal account. Essentially, the subject found refuge from the brutality inflicted upon him by retreating into and living within his own mind. At times, he drifted about the frontiers of madness, hanging on to himself by a thread. At other times, he pondered, listened, and watched, like only the truly otherwise unoccupied can. Importantly, he managed to scrounge paper and a pencil from time to time and record his journey of ‘motionlessness.”
The film stars a coterie of renowned names on the Nigerian screen, including Wale Ojo as Wole, Sam Dede as Yisa, Norbert Young (Prison Superintendent), Francis Onwochei (Prison Controller) and Edmund Enaibe as Commissioner; as well as international actors, London-UK-based Christiana Oshunniyi (Laide Soyinka), and Los Angeles, USA-based Abraham Awam-Amkpa (Johnson), among others.

We fight all day and make love all night

We arrange the Place, and then we scatter it again

See every time I look at you, I see a perfect picture of an angel

The next minute the demon comes out and I start to wonder where is my baby, eh

I hate what you do to me, cannot tell you to go, cannot tell you to stay

Me and you like a smoking gun

‘Cause every time we argue, yes we are one

I hate you, I love you, we have to choose one

But every time you come around there is tension

When you’re not here I miss you

When you are not here there is peace here

Damn, I wanna share it with you

Wonder why it has to be this way

I Hate What You Do To Me

c. Tuface

(Caveat: Let me be clear, my pen weaves this analogy not in judgment of the artist Tuface Idibia, our beloved TuBaba the musician. His lyrics resonate deeply, hitting chords within us all, speaking to love, life, and the Nigerian experience with a power few can match. Just as his music evokes a bittersweet mix of joy and longing for what could be, so too does my love for Nigeria carry that same poignant duality – a profound affection intertwined with a deep ache for the nation we are capable of becoming, the nation we should be.)

Nigeria, our 2Baba, the grand patriarch of a vibrant, tumultuous, and often bewildering family of nations, huddled within a single geographical expanse. A land undeniably blessed with resources, brimming with human potential, yet perpetually wrestling with internal dramas that mirror, in uncanny ways, the very personal storms that consume the lives of its most prominent figures. Just as Tuface Idibia, the beloved 2Baba, finds his private life relentlessly dissected and amplified under the harsh glare of public scrutiny, so too is Nigeria’s very existence constantly examined, questioned, and often, sensationalized on the global stage. The recent whirlwind surrounding Tuface’s announced separation, his subsequent entanglement with a new relationship, and the ensuing familial and public outcry, serve as a potent, if unsettling, microcosm of the multifaceted challenges that plague our nation. The announced ‘divorce’ from a semblance of stability, the tantalizing allure of forging new unions – be it through state creation or regional realignments – and the anguished cries of a bewildered ‘motherland’ yearning for cohesion, all resonate with a chilling familiarity within the Nigerian context.

Think of Nigeria as 2Baba, a father of immense lineage, burdened by the complexities of managing a sprawling, diverse household. He is a father to countless ethnicities, languages, and faiths, each vying for recognition, resources, and a sense of belonging within the national family. Like Tuface, Nigeria is a figure deeply embedded in the popular consciousness, a symbol of resilience and potential, yet also a lightning rod for controversy and criticism.

Just as Tuface’s personal life becomes a public spectacle, so too are Nigeria’s political and social dramas played out in the full glare of the international media, dissected and debated with often simplistic and judgmental narratives.

The announcement of separation, in Tuface’s case from his estranged wife, and Nigeria’s case, from a unified national purpose, is a jarring moment. It speaks of deep-seated fissures, of relationships strained beyond easy repair, of a foundational contract perhaps perceived as broken or no longer serving its intended purpose. The rumblings of separatism, the clamor for state creation, are akin to members of 2Baba’s vast family seeking to redraw boundaries, to establish independent households, driven by grievances, perceived neglect, or a yearning for self-determination.

These movements, much like Tuface’s bold declaration of a new relationship, are not born in a vacuum. They are often the culmination of years of accumulated frustrations, unmet expectations, and a sense of being unheard or marginalized within the existing structure.

Consider the alluring figure of Natasha in Tuface’s saga. In the Nigerian context, this could be analogized to the siren call of new political configurations, the promise of a fresh start offered by regionalism, or even outright secession. These new unions are presented as solutions, as pathways to progress and prosperity, free from the perceived burdens and failures of the existing national framework. Just as Natasha offers Tuface a promise of renewed happiness and companionship, so too do these separatist ideologies tantalize with visions of autonomous governance, resource control, and a more equitable distribution of power and wealth. However, like any new relationship forged amidst the wreckage of the old, these propositions are fraught with uncertainty, potential pitfalls, and the risk of unintended consequences.

The public proposal, so boldly displayed in Tuface’s drama, mirrors the often audacious and sometimes impulsive political decisions made in Nigeria. These are grand gestures intended to signal change, to demonstrate resolve, yet they often serve to further polarize public opinion. State creation, for example, while sometimes intended to address genuine developmental needs and bring government closer to the people, can also be perceived as politically motivated, designed to consolidate power or appease specific factions, rather than serving the broader national interest.

Like Tuface’s proposal, such moves are met with divided reactions: some applaud the boldness, and the willingness to embrace change, while others decry the disrespect for established norms, and the disregard for the pain and disruption caused by such dramatic shifts.

Then there is the poignant outcry of Tuface’s mother, Rose Idibia. Her plea for Natasha to “free” her son, her claim that he is not in his “right senses,” and the veiled accusation of “voodoo,” injects a deeply cultural and emotive dimension into the drama. In the Nigerian context, this resonates with the voice of the ‘motherland’ itself, the foundational generation, the custodians of traditional wisdom, lamenting the perceived recklessness of the current generation, the fear that the nation is being led astray by forces beyond its control.

The accusation of “voodoo,” while rooted in specific cultural beliefs, can be interpreted metaphorically as a reflection of the deep-seated distrust in leadership, the suspicion of external manipulations, and the fear that self-serving agendas are overriding the genuine needs and well-being of the nation.

It speaks to a profound anxiety that Nigeria, 2Baba, is not acting in his own best interest, that he is being swayed by forces that are detrimental to the long-term health and unity of his vast and complex family.

The difficulties Nigeria faces, much like the turmoil in Tuface’s life, are multifaceted and deeply intertwined. State creation, often presented as a solution to address marginalization and promote development, can also become a source of further division and instability. While genuine grievances may exist, the redrawing of state boundaries can trigger new conflicts over resources, identity, and power, potentially exacerbating existing tensions rather than resolving them. Separatist movements, driven by a yearning for autonomy and self-determination, represent a fundamental challenge to the unity and territorial integrity of Nigeria. While the right to self-determination is a globally recognized principle, the fragmentation of a nation as diverse and interconnected as Nigeria carries immense risks, potentially unleashing a cascade of conflicts and undermining regional stability.

Leadership upheavals, mirroring the personal dramas of figures like Tuface, reflect a deeper malaise within the Nigerian polity. The constant churn of political transitions, often accompanied by accusations of corruption, mismanagement, and a lack of vision, erodes public trust and undermines the very foundations of governance. Just as Tuface’s personal life becomes a stage for public judgment, so too are Nigerian leaders subjected to intense scrutiny, their every action analyzed and often criticized in the unforgiving arena of social media and public discourse. This relentless pressure, while essential for accountability, can also create a climate of instability and make it difficult to cultivate long-term vision and consistent policy implementation.

Yet, amidst this chaos and drama, lies the undeniable prospect of a great nation. Nigeria, 2Baba, is endowed with immense resources – both natural and human. Its youthful population, its vibrant culture, and its strategic location, all point to the potential for greatness. Like Tuface, who possesses undeniable musical talent and a devoted fanbase, Nigeria holds the promise of achieving significant progress and playing a leading role on the African continent and the global stage.

The mistakes that are being made, both in the personal sphere and in the national context, often stem from a failure to learn from the past, a tendency to prioritize short-term gains over long-term stability, and a lack of genuine dialogue and understanding across different segments of society. Just as Tuface’s dramas highlight the complexities of relationships and the importance of communication and mutual respect, so too do Nigeria’s challenges underscore the urgent need for inclusive governance, equitable resource distribution, and a national conversation that transcends ethnic, religious, and regional divides.

We, the citizens of Nigeria, are more than just fleeting passions or momentary dramas. We are a complex, enduring family, bound together by history, geography, and a shared destiny. Let 2Baba, our Nigeria, remember this fundamental truth. Let him draw strength from his rich heritage, learn from his mistakes, and embrace the prospect of greatness that lies within his grasp. Lest the drama, like a relentless tempest, consume the very dream of a united, prosperous, and truly great nation, a father of many nations in the truest sense of the word—May Nigeria win.

*Prince Charles Dickson is Team Lead at The Tattaaunawa Roundtable Initiative (TRICentre)
Alternate Mail: pcdbooks@yahoo.com
Skype ID: princecharlesdickson

On Wednesday 29th January 20205, the African Union (AU) and the All-Africa Music Awards (AFRIMA) formalized its long-standing partnership in promoting Africa’s creative and cultural industries, particularly in the field of music. This MoU aims to strengthen the already existing partnership since 2014 when AFRIMA launched its first Award ceremony that honours exceptional African musical talents and the promotion of African music at the international stages.

Over the years our collaboration has achieved enormous success together, especially in implementing the Revised AU Plan of Action on Cultural and Creative Industries and upholding the principles of the Charter for African Cultural Renaissance; organizing the 2020 “Stronger Together’’ online concert for the COVID-19 Response Fund; and advocating for key AU initiatives towards Agenda 2063 as Africa’s premier Intergovernmental Organization and Africa’s premier music awards platform, respectively.

Amb. Minata Samate Cessouma, Commissioner for Health, Humanitarian Affairs and Social Development, underscored that, with the signing of this MoU, the AUC and AFRIMA reaffirm their dedication to nurturing African musical talent, expanding opportunities for all artists, and leveraging music as a tool for integration, social cohesion and economic transformation. “This agreement signifies a new chapter in our collaboration, ensuring that African music continues to flourish, uplift communities, and contribute to the well-being of artists and the continent’s development agenda.” Amb. Cessouma stated.

Mike Dada, President and Executive Producer of AFRIMA, expressed his enthusiasm for the renewed collaboration, extending appreciation to current and former AU Commissioners for their visionary leadership, overwhelming support and dedication to the course of Africa’s creative industry. “This partnership represents a significant milestone and a great step forward in our shared mission to elevate African music and culture on the global stage. Looking forward to the continued growth of this partnership for the benefit of our continent.’’ Dada said.

Tems’s “Love Me Jeje” won her the prestigious award.

During an emotional acceptance speech, Tems dedicated the award to her mother, whose birthday was the following day.

She expressed gratitude to the mother for her unwavering support and love.

She said: “Wow, dear God. Thank you so much for putting me on this stage and bringing me this team.

“Tomorrow is my mum’s birthday and this is her first Grammys. I just want to thank you ma because she has really done a lot for me and my brother.

“Happy birthday mum. And I want to thank my team. Muyiwa, Wale, my beautiful stylist, and lovely girls… I love you guys.

“Thank you so much. To God be the glory. Honestly, He has changed my life so much.”

The good news was contained in a letter signed by Miki Goral, the festival’s Filmmaker Liaison & Research Director, on behalf of the PAFF directorate. Dated January 28, 2025, the letter reads in part: “I am happy to inform you that The Man Died has been nominated for the “juried Best Feature Narrative at the Pan African Film Festival.”

An earlier letter from the directorate had hinted that the 105 minutes feature will be screened on February 12 and 14 at the Culver Theatre, Culver city, California. It is the film’s first appearance in the United States, having done London, UK twice, and North Africa twice, among others.

Established in 1992 by Hollywood veterans Danny Glover (The Color Purple, Lethal Weapon), the late Ja’Net DuBois (“Good Times”), and Ayuko Babu, the Pan African Film & Arts Festival (PAFF) has, according to its website, remained “dedicated to the promotion of Black stories and images through the exhibition of film, visual art, and other creative expression. For over 30 years, PAFF has been the international beacon for the African diaspora film and arts communities.

Every year, it showcases over 200 new high-quality Black films from the U.S., Africa, the Caribbean, South America, Europe, the South Pacific, Canada, and increasingly, Asia.

The latest news is coming on the heels of recent accomplishments of the film, which has so far won three awards, including the latest at the 14th Luxor African Film Festival in Upper Egypt, earlier this month, where it won “Best African Film That Tackle An Important African Issue.”

Thirty-five of the hundreds of entries from 150 countries, competed in various categories of the final stage of the festival founded in 2010.
Before Luxor, the film had clinched Best Screenplay trophies at both the African International film Festival, AFRIFF, (November 3-9, Lagos), and at the 35th Carthage International Film Festival, held November 14-21 in Tunis. It had also won Best Audience Choice Award at the Eastern Nigeria International Film Festival, ENIFF, Enugu, November 27-30.

The film stars a coterie of renowned names on the Nigerian screen, including Wale Ojo as Wole, Sam Dede as Yisa, Norbert Young (Prison Superintendent), Francis Onwochei (Prison Controller) and Edmund Enaibe as Commissioner; as well as international actors, London-UK-based Christiana Oshunniyi (Laide Soyinka), and Los Angeles, USA-based Abraham Awam-Amkpa (Johnson), among others.

Meanwhile in continuation of its global tour, The Man Died, has also been selected for the Jo’Burg Film Festival, holding March 11-16. It is being considered for special screenings at educational institutions in Florence, Italy; Abu Dhabi in the UAE; Oxford University, , UK, as well as at New York University, Harvard University, and at Ithaca College, all in the USA, among others.

This is as it is also being reviewed by at least three major global streaming platforms, and international distribution channels.

Once in a while, from the cacophony of misguided voices, emerges a note so discordant, so steeped in self-delusion, that it demands a response—not for its merit, but to preserve the sanctity of truth. Words, in Yorùbá culture, carry power, and when twisted to obscure reality, they become propaganda. Propaganda can be written by anyone, even fools.

Following an adventurous and culturally vibrant festive season in 2024, during which the J.Randle Centre for Yorùbá Culture and History achieved remarkable milestones, we returned from a well-deserved break to unexpected developments. A recent viral video has sparked widespread attention. As expected, a torrent of baseless accusations followed. I stayed aloof and chose the path of silence. While most were easy to dismiss, one particularly venomous voice bothered me because he claimed to be a stakeholder—a self-styled “Duke of Shomolu,” whose words demand correction, for posterity sake. He published his delirious open letter to Mr Governor in the Nigerian Guardian on 13th January, 2025, after littering various WhatsApp groups with it.

It takes a certain level of delusion to crown oneself a Duke in a place like Shomolu, but it takes even more to fling baseless accusations while basking in mediocrity. The good people of Shomolu must be of extraordinary patience, or they’ve perhaps given up on correcting this man’s self-imposed regency. Joseph Edgar, as he is otherwise known; is a failed investment banker, whose lifeline is in touting himself as “a serious stakeholder in the Art and Culture space”. But the real stakeholders know fully well that threading in certain environments carries with it an occupational risk, he is about to learn. He is no Duke but a Fluke of Shomolu—a jester propped up by those who thrive on sycophancy. The fluke’s slander against me and my wife betrays its source—a well-funded yet misguided attempt to discredit us.

Progress Speaks Louder than Propaganda

To the fluke’s claim that I have failed to promote the J.Randle Centre: since its opening on November 4, 2024, the Centre has welcomed over 12,000 museum visitors and nearly 10,000 attendees to its Christmas Village. We’ve hosted historic events, film premieres, exhibitions, and special guests while earning recognition from The Guardian UK as one of 2025’s standout museums globally. Our work has garnered international attention, with features on platforms like DW (Germany) and Le Monde (France), and more to come.

We recently announced The Mèsì, a high-profile, seven-member advisory board including luminaries such as the well celebrated Dr Bayo Akomolafe – a distinguished philosopher, Prof. Saheed Aderinto – a seasoned historian, Titi Ogufere – of Design Week Lagos, Tayo Bello – popularly known as Waa Sere, Niyi Akimolayan – arguably the most revered Nigerian filmmaker currently, Morenikeji Olowoyotan – a certified Yorùbá linguist and Wunmi Durosinmi Etti – popularly known as Chef Wu. The Centre has become a hub for innovation, antidisciplinary dialogs and collaboration, as well as cultural preservation, achievements that far exceed his limited imagination. Despite the immense challenges that we face, under my leadership the J.Randle Centre has continued to deliver strong results, demonstrating its immense potential.

The fluke’s major concern alleges that I sublet portions of the J.Randle Centre for personal profit, including running a “canteen” managed by my wife. We know of his handler’s interest in the restaurant, I have none. What he and the torrent of misguided allegations disparaged as a “canteen,” was a legitimate three-week rental initiative during the festive season generating ₦600,000—all transparently documented into the Centre’s operations. My wife, Hajarat Alli, far exceeds the caricature of a “canteen manager” but one of the brightest arts managers in Nigeria today, a masters degree holder from a prestigious private school in Paris; a highly accomplished professional whose career spans international research, cultural administration, arts management, and human resources. Her 15-year career spans three continents, managing projects worth over $10 million.

The Yorùbá proverb, “Arìnà kọ́fá kìí ṣẹgbẹ́ agbélé kọ́fá,” teaches that wisdom gained through travel far surpasses that acquired in isolation. I have dedicated 28 years of my life to the culture—not as a hobby or an afterthought that magically gushes after a failed career in banking or law, but as a life’s work. Born and raised in Surulere, Lagos, I began my journey into the arts at age 13 and went on to represent Nigeria’s cultural brilliance in over 60 countries. I have made and presented works in five continents, I have collaborated with global institutions, taught in international universities, curated award-winning performances internationally, and I have helped build a similar centre in the USA.

Together with my wife, we co-founded The QDance Center 11 years ago in Lagos, an organization that nurtured young Nigerian talent and elevated Lagos on the world stage, an experiment that became a globally recognised hub for creativity and talent development. In January 2024 we acquired a property in Lafiaji, Lagos Island, which we are currently transforming into our permanent building to be inaugurated in March 2025. If the fluke and his ilk can boast of a single comparable achievement in our both CVs, he would likely shout it from the rooftops.

The fluke accuses me of audacity, and to this, I plead guilty. Audacity fuels innovation and allows us to carve out a space for Yorùbá culture on the global stage. But there is a distinction between the audacity of vision and the audacity of opportunism. The former builds; the latter leeches. Your venom, though crafted to sting, reveals more about your character than mine. You are no stakeholder. You are no critic, but a puppet, dancing to the strings of those who fear accountability, for a camera has always been an object of terror to those who seek to suppress truth.

The J.Randle Centre stands tall, a beacon of cultural excellence that will outlive the noise of slander. Like the Yorùbá heroes whose legacies we honour, I will continue my work undeterred. And as for your parting taunt—“Come and beat me”—I am not of the assaulting kind. Instead, I offer prayers. May the real stakeholders continue to dream boldly. May their voices, long silenced by charlatans, rise louder and more resonant. Let us summon the courage to defend our sacred stories, protect the spaces where they are told, and inspire future generations to honour their heritage.

The Audacity of the Stakeholders

The true stakeholders in the arts, culture, and tourism sector are interwoven with over two hundred million Nigerians in a shared garment of destiny—tattered and torn by terrible leaders and their opportunists, who seek to make us feel powerless, to surrender, to leave and let them trample over everything— but we won’t. Our sector is being mended and cleansed by the handful determined to see our culture flourish. The fact that we cannot save everything does not mean we cannot save anything, and anything we can save is worth saving. Pick up a piece of the world where it meets you and mend it. Rest if you must. Runaway if you must. But return to the principles that bind us to hope, to the solidarity that builds sanctuary against the storm. Our ancestors kept their faith through the boots of false power, through dictatorships, and through betrayals. And so shall we.

Keep your head when all about you lose theirs. Learn to walk with kings but never lose the common touch. Speak truth, even when it is twisted by fraudsters to trap fools. When all else fails, but the will to hold on—simply hold on. May we rise louder than the noise-makers, our integrity brighter than their lies. And may we summon the audacity to keep imagining a world they dare not believe is possible. Let us persevere, not because it is easy, or because we aren’t afraid, not because it feels good, but because it is the only way to honor those who came before us and those who will come after. Let us hold on. Together.

Politics is a full-time endeavor too, and I hold deep respect for those who approach it with diligence and integrity. It is my hope that we continue to appoint leaders who truly understand the transformative power of culture—not as decoration, but as a vital cornerstone for growth, a foundation for stability, and a wellspring for dreams.I pray for Governor Babajide Sanwo-Olu, whose vision for the creative and tourism space stands as a beacon of cultural transformation. May his vision to see a J.Randle Centre that outlives us all, and some petty ambitions, come alive. May his desire for a Lagos that values heritage and innovation guide his every decision.

Aṣẹ.

Qudus Onìkẹ̀kú is CEO / Centre Director, J.Randle Centre for Yorùbá Culture and History