THEWILL DOWNTOWN September 24, 2023

ENOTIE

A CONVERSATION with Art, Culture, and Inspiration

OGBEBOR

Afew days ago, I received a call from someone; his voice was terrifying, and I stopped dead in my tracks. All he said was, did you receive the WhatsApp message I sent you?

I asked who was speaking and told him I wasn’t going to check my message. Then he hung up, and a message alert came through. I knew it was from him and as much as I tried to ignore it, I couldn’t so I checked to read the message. It read, in summary, that someone had hired him to kill me, but I had been nice to him, so he asked his boys to back down while he spoke to me. He wrote that the person who hired him is someone I‘m close to and that he has a recording of their conversation, both audio and visual.

I called family and a friend, and they all assured me it was a hustler trying to get money off me and that I should block his number. I did that.

I can’t believe these scammers now use stories like this to get money off people. Surely, there must be something we can do about this. Maybe report it to the police, and they can trace the phone number and have them arrested. The question is, will the police also expect you to pay for the investigation? Either way, something needs to be done.

Stay alert, everyone.

Until next week, enjoy your read.

Executive Editor: Onah Nwachukwu @onahluciaa

Editor-at-Large: Danielle Loth

Writer: Ijeoma Ezeanyika

Graphic Design: Olaniyan John ‘Blake’

Digital Media: Oladimeji Balogun

Guest Art Director: Sunny Hughes ‘SunZA’

06 D É COR

05 BEAUTY DOWNTOWN CONFIDENTIAL Breaking Down Stereotypes

Dorcas Akintoye

Dorcas Akintoye is a dedicated writer with more than 2 years prolific experience in writing articles ranging from food, entertainment, fashion and beauty.  She has a National Diploma in Mass Communication from Kwara State Polytechnic, Ilorin. She loves writing, listening to music and playing scrabble. She is a highly-skilled, enthusiastic, selfmotivated professional writer.

Banjola Adesina

- Contributing Writer

Banjola Adesina is an intelligent and interesting person. He likes music, movies and sports. He can write on various topics from travel to football; you would have a fun conversation with him.

@readnigeria

Scented VS. Unscented

Weighing The Pros And Cons of Fragranced Skincare

BY DORCAS AKINTOYE

Fragrance in the skincare industry can be compared to the seductive note in a lovely symphony. But like any melody, a delicate balance must be achieved. Should you go with the unscented product’s simplicity or embrace the perfumed serenades of fragranced skincare products? Let’s explore the world of fragrance enticement and evaluate the benefits and drawbacks of fragranced skincare.

THE PROS OF FRAGRANCED SKINCARE THE CONS OF FRAGRANCED SKINCARE

1. A SENSORIAL EXPERIENCE

Your skincare routine becomes a sensory joy when fragrance is added, giving it a captivating dimension. Aromas can elevate your spirit and create a pleasant environment that transforms ordinary routines into pleasurable rituals.

2. BOOSTING CONFIDENCE

Having skin that smells like a citrus grove or a bouquet of roses can boost one’s self-esteem. You can feel more put together and prepared to take on the day if you have a subtle fragrance clinging to your skin.

3. MERGING SKINCARE WITH PERFUME

You can combine your skincare and fragrance routines with the aid of fragranced skincare. You can smell fresh all day with products like scented body lotions, a lighter alternative to conventional perfumes.

1. SENSITIVITY CONCERNS

People with sensitive skin may experience allergic reactions or irritation from fragrance ingredients. For sensitive or reactive skin, fragrance-containing products could be more of a threat than a friend.

2. RISK OF PHOTOTOXICITY

Certain fragranced skincare products include essential oils that may make the skin more sensitive to sunlight and increase the risk of sunburn or other skin damage.

4. INTERFERENCE WITH ACTIVE INGREDIENTS

Due to chemicals in perfumes, active ingredients in skincare products might not work as intended. The advantages that your skincare regimen is designed to offer could be harmed by this.

5. POTENTIAL DISCOMFORT FOR OTHERS

Others might not share your passion for your luxuriously fragranced skincare, even though you may. Someone with scent sensitivity may struggle to cope with strong scents nearby.

4. MASKING UNPLEASANT ODOURS 5. ENHANCING RELAXATION

3. UNDISCLOSED INGREDIENTS

Some substances used in cosmetics have unpleasant scents by nature. Your skincare routine will be more enjoyable if fragrance is used to cover up these unpleasant odours.

Unwinding with a moisturiser with a lavender aroma may be just what you need after a long day. You can relax and settle into your evening with the aid of fragrance, which has the potential to induce peace and relaxation.

The word “fragrance” is frequently used on an ingredient list to disguise a complicated chemical composition. It’s possible that customers who are particular about their skincare choices won’t be familiar with the ingredients.

CONCLUSION

Choosing between scented and unscented skincare boils down to personal preference and skin sensitivity. Although fragranced skincare products are irresistible, it’s important to consider the hazards, especially for those with sensitive skin. Whether you have fragrant skin or not, the ultimate goal is to create a skincare routine that makes you feel good about yourself.

ACCESSORISE WITH A MIRROR

A mirror doubles a space’s brightness and makes it classy, but aside from this, it helps expand the size of smaller areas like an entryway. When choosing a mirror for your entryway, look for one with a clear glass, as it will help your guests walk into an encouraging space.

FIRST IMPRESSION MATTERS

BY IJEOMA EZEANYIKA

First impression matters a lot, and it lingers for a long time. For this reason, you must give the entryway of every home a great deal of attention because it is the first place your guests see when they step inside your house. Plus, it suggests what they should expect in the rest of the home. Explore some fantastic tips on how to make your entryway give off a positive tone about the rest of your home.

SAY WELCOME WITH A DOORMAT OR RUG

Rugs and doormats are good sand collectors, which makes cleaning easy, but aside from that, having it at your entryway makes guests feel more at ease to take further steps in your home as they can dust off the sand from their shoes and feet, taking off the uneasy feeling of bringing dirt into your home. Another thing it does is keep the space warm.

LIGHT IT UP

The entryway is usually very dark, with few or no windows for natural light to shine in, giving it an eerie feel. Proper lighting makes it feel warm, inviting and homely. Also, ensure the lighting is bright enough to light up the corners.

FLEX AROUND WITH STORAGE SPACE

To keep your entryway clean and organised at all times, you must have sufficient storage space where your everyday items can be neatly kept. The storage space can range from built-in shoe storage units to decorative holders for umbrellas. This thought-out functionality will keep your guests impressed.

INFUSE PERSONALITY WITH PICTURES AND DECOR

The entryway should be just as comely as the rest of your home. You can achieve this by hanging a family portrait on the wall, an artwork you fancy, or putting a flowerpot by a corner. This is to give life to it rather than making it feel like an abandoned part of the home with no hint of human activity. It should be just as full of life as the rest of your home.

Debunking Common Myths About Sex

BY DORCAS AKINTOYE

MYTH 1 - PERFECT SEX ALWAYS HAPPENS INSTANTLY

Breaking Down Stereotypes Hey

Imagine this: Candles, roses, and instant perfection. Reality check: Just like anything else, sex requires practice, communication, and maybe a few laughs along the way.

MYTH 3 - ONLY PENETRATION COUNTS AS ‘REAL’ SEX

Let’s abandon the idea that having sex means being penetrated. It’s about intimacy, connection, and pleasure, and these things can come from a wide range of activities, not just one.

MYTH 2 - GREAT SEX IS ALWAYS LOUD

Movies might mislead you into thinking intense sex is all about loud moans. However, guess what? Quiet, powerful, and highly resonant moments can also occur in intimate moments. Finding what feels appropriate for you and your spouse is the key.

MYTH 4 - EVERYONE SHOULD ORGASM EVERY TIME

The truth is that orgasm isn’t the end goal for everyone, every time. And that is entirely OK. Whether you hit that peak or not, having fun and feeling good are the main goals of sex.

there, curious minds! Let’s be honest about sex, a topic that is sometimes veiled in mystery and false information. This article will debunk the urban myths that have persisted for far too long. It’s time to dispel myths and reveal the truth, so buckle up!

MYTH 5 - SEX SHOULD BE SPONTANEOUS

Even while spontaneous moments can be exhilarating, preparation and communication are essential. It doesn’t lessen its significance to schedule private time; it only ensures you and your partner are on the same page.

MYTH 6 - YOU SHOULD KNOW EXACTLY WHAT YOU WANT

Preferences can change, and it’s alright not to have all the answers. A big part of the adventure is communicating and exploring with your partner.

CONCLUSION

Each person’s experience with sex is vast, varied, and unique. We’re removing obstacles and making room for honest dialogues by dispelling these myths. Always remember that true intimacy is derived from an awareness of, respect for, and acceptance of what feels appropriate for you. So go ahead, dispel those misconceptions, and enjoy exploring this beautifully human subject!

A Conversation with

Enotie Ogbebor

Art, Culture, and Inspiration

Ogbebor is a self-taught multidisciplinary artist, a visiting fellow to Cambridge University MAA, an Artist in residence at Cambridge University MAA, a Fellow of the prestigious DAAD, a Fellow, of the Society of Nigeria Artists, and the appointed Art and Cultural Consultant for the Edo State Government in Nigeria. His work revolves around painting, sculpture, music and performance, and so far, his work has proven to be a reflection of his lifelong commitment to creativity, culture, and heritage preservation.

Enotie

In a candid conversation with TheWill DOWNTOWN’s Executive Editor, Onah Nwachukwu, Enotie Ogbebor explores the complexities of his art, the cultural influences that inspire his creative vision, and his distinct viewpoint on the significance of the returned artefacts.

You studied Economics and Statistics at the University, but your passion was art. Should people get a degree first before pursuing their passion?

No, I don’t think that should be a condition. It can be an advantage in that it broadens your mind. In my own case, because economics and statistics covers micro, macro economies, when it comes to economic activities on the micro or macro level, you learn to visualise things on a personal level, on a national level, on an international level, the volumes of trade, the types of activities required, the level of thinking, the depth of thinking, the search to achieve, the economic policies that govern individuals, companies, nations, and global production of goods and services, production and supply of goods and services. So you learn to look at how these decisions influence trade between individuals, communities, and nations, and how they impact politics, health, all aspects of life, defence, security, and so in starting my art practice, because of this training, I tend to look at my creativity from a point, apart from trying to achieve authentic expression, you also measure the impact of what you’re doing on individuals, on countries, on the world. So it gives you a perspective which is expanded, it’s bigger. So yes, it’s an advantage for me, but I would not say you have to do that. Of course, as an artist, you should be well-learned and broadminded. However, I think research is a very strong part of my practice, and my art is my voice with which I contribute to various issues around the world. My practice focuses on cultural restitution, the rediscovery of our culture, which was dampened and diluted and, in most cases, cancelled by colonialism and the issues affecting our environment. As an artist, you draw a lot of inspiration from the environment, and for me, the indiscriminate felling of trees, the reduction of the natural habitat, which affects animals, birds, bees, and butterflies, which therefore reduces the beauty in this world, and

endangers our lives as human beings generally, because we inhale oxygen and exhale carbon dioxide, and if you cut all the trees and cut all the plants, then how does this cycle continue?

It is like committing mass suicides –the way we are going about destroying our environment. The animals have their place in the cycle of life, facilitating this cycle of life and sustainability. If we get rid of all the animals as well, we are in trouble. So, I try to use my art to focus on these issues and to raise awareness and to also find solutions to be proactive. And then, of course, contemporary issues like human trafficking, illegal migration, all these issues, inequality amongst human beings, amongst races, amongst genders. For me, my art is like my voice, and any training I’ve received, any education I’ve received, contributes to how I carry out my research and how I tackle issues which appeal to me, which I feel are important for us as human beings.

Did you always know that you would end up as an artist?

Not really. I thought I was going to end up as an industrialist because of my family background. My father was an industrialist, and he has all these investments, which I’m sure he hoped I would grow into. But over the years, I’ve learned to combine my other responsibilities with my art practice without it affecting my career. Because the truth is, I never knew people could practice as artists and live in Nigeria. Until I came across a childhood friend who had studied art, and I was like, ‘oh, okay.’ So, this really ignited my passion because I kept working as a hobby. I’m very passionate about it throughout my working career as a businessman and as an employee.

So what fuelled your passion for the arts then?

Well, the thing is, I think I was born this way. There’s this pressure that grows from inside to want to create, to be creatively expressive, so it’s something that has always pushed me from inside, from childhood. I always wanted to sketch and scribble things which I wanted to say, which I noticed or which appealed to me on my books, on my clothes, on my desk, on the chalkboard. I used to draw cartoons. It was just a continuous passion pushing me from inside. And being fuelled by things I was experiencing all around me. And, of course, I was fortunate enough also to be exposed at an early age to some of the globally renowned sites like Egypt. At the age of 10 or 11, my dad took me on a visit to Egypt, where I saw the wonders the Egyptians had wrought centuries ago. On a trip to Greece, where I saw the Parthenon, the Acropolis and all these things the Greeks had done centuries ago, we also visited Ethiopia, Kenya, and museums in Britain. So with all this exposure, I guess the question arose in me: What have we done in Africa? What have we achieved? And so, in that quest, which has now become lifelong, I was able to come to terms with the reality of colonialism and how the destruction and looting of our artefacts and our civilisation was systematically achieved. So, in wanting to learn more about my culture, the artefacts and the artworks we had at home took on new meaning. The more I learned about the Benin bronzes, the ivory carvings, (samples of which we had grown up with in the house), it took on new meaning and sparked my curiosity. So, I started reading history on my own and reading about the various kings and their reigns in Benin. I started reading about Ife, Yoruba, Igbo, Boku, the Nok culture, among others. My mother is from Igun streets, which is the quarters for the famous Benin bronze casters, and so even growing up, going to visit uncles who used to play with their children, play with others and bronze casters while they were carrying out bronze casting, I mean, for me, I thought that was how everybody grew up. You know, so all these experiences have been what have been pushing and fuelling this quest

for creativity.

You were appointed as advisor on art and culture to the Edo State government. What are your thoughts on the returned artefacts?

Well, not all of them have been returned, but a substantial number held by the German museums have had their ownership signed over to Nigeria, and some have been returned, a small quantity. The Smithsonian Institute Washington DC also returned all the Benin bronzes in their possession. Cambridge University, Horniman Museum, etc., are all gearing up to return theirs, and I think this is a fantastic development, a good example of the quest to correct the wrongs of the past, the beginning. Like I always say, the return of objects is one thing, but the return of dignity, the return of knowledge, and the return of everything that has been lost, is something that we can never achieve, but we can strive to mend the gaps so that our people can come to terms with our history, with our heritage, with what we’ve done, with what our ancestors have done in the past. Because in defining development, you cannot define development as wholesome copying of somebody else’s achievements. Development really should be taking what your ancestors have bequest to you and taking it to a higher level, so that becomes development, but to copy somebody else’s work or culture or wholesale is not development. And so, we’re told we have no civilisation, we came from a background devoid of history, of achievements, but this is not true. So when our people see what our ancestors created, which are these, they’re not just mere artworks. A lot of them were created to keep our stories, to keep our history, a lot of them were created to keep our songs, our proverbs, and some were created for utility reasons, and some were created for religious reasons. So, in coming to terms with these objects and their relevance and their importance and what they were created for, we unlock a lot of our history, a lot of our knowledge, which our ancestors have discovered over centuries and which they have stored in these objects, in these concepts. Then, we ourselves will now discover the pedestal which has been created for us so that from there, we can climb upon it and continue to build, instead of trying to continuously dig foundations with the wrong implements which the colonial, unicultural administration or colonial concept had foisted on us. Now we can build, standing on the shoulders of our ancestors, who were giants in their own time, creating these masterpieces at the time when Europe was in the Dark Ages, at the time when Europe was in the Renaissance, at the time when Europe was flourishing. And so, we are also creating masterpieces, we are flourishing, we are our civilisation, we are our body of knowledge, we are our architecture, we are our language, our music, our poetry. And so, when we know all of this, then we can refine what we want, discard what we want, and, you know, contribute to the global cultural heritage and body of knowledge in an authentic manner, the way which bears the legacy of our ancestors and the tenacity and creativity of our people today.

What do you have to say to people who think we cannot preserve the artefacts that have been returned?

Well, first, they should realise that it is not by accident that these items are created from bronze, ivory, and wood, from materials which are unique materials like ivory, come from elephants, and those elephants are native to Africa, their origin is in Africa. Therefore, the weather, and the amount

of care and attention we have to give to these artefacts are not at par when you take them to foreign places where the weather is extreme, between cold and hot. And so, we have to struggle to do all of that. But here, these items were already with us for over several hundred years before they were stolen, so they found them in pristine condition when they looted them. We had our traditional methods of preservation, and these artefacts were made to live around us. So, this argument that we cannot look after them does not stand in that sense because they are indigenous to us. Our weather favours them. I understand that yes, organisationally, we may not be at par in terms of our museum systems and all of that. But, in part of the argument that these works have become part of the global heritage. So, all hands must be on deck globally to preserve them. We are building modern institutions and storage facilities designed by world-class architects to also ensure that when these works are returned, they find a good place to stay. They can be displayed according to best practice. But more importantly, we do not want to replicate the western concept of museums, in Benin city, where we are building MOWAA, the Museum of West African Arts, which was designed by the world-famous Sir David Adjaye, the concept is not to replicate the colonial construct of the museum because according to the colonial people, the museum was a place where items from conquered peoples were displayed. But, our museum is to reflect who we are. In Africa, we had no separate buildings as such called museums. Our art was part of our lifestyle. And therefore, our museums are being designed so that it is accessible to every strata of society. To everybody. It should be a centre where people can come and carry out activities and learn about their art, their heritage, and their history. And so, I don’t think that any of that has relevance as a viable argument. We can keep precious things in Nigeria. We keep diamonds, we keep gold, we keep precious stones. So, there’s enough awareness to ensure that they are properly kept and utilised.

In this digital age, how important is it for artists to introduce digital art into their work?

It’s very important to take advantage of the digital platform, because, in the first place, never in the history of mankind has a single market at large or a single platform ever been created. Just imagine what it took for the Portuguese to sail on the ocean from Portugal to Benin to trade. Or what it took for Marco Polo to build their canals and harbours and ships to China or think about the turn of the century, the 19th century, when the state government discovered how they had to go three months, four months to go from Europe to America to trade and all of that, and today, you have the internet. With the internet, out of 8 billion people on earth, you have about 5 billion connected to the internet. So, it’s the single largest market ever created in the world. So, apart from just using digital tools for creativity, digital tools serve also as a platform for taking your works to the market, showcasing them to the world, for sharing your concepts with the world. So, you can imagine the 5 billion strong market. It would take forever to bring them into such a saturated market. So, we must not shy away from technology, in aiding our creativity, aiding

“I think I get my inspiration from human interaction, from nature, from music, creating music, listening to music, travelling, and seeing other cultures.”

“I always wanted to sketch and scribble things which I wanted to say, which I noticed or which appealed to me on my books, on my clothes, on my desk, on the chalkboard.”

our marketing, in showcasing our works. Because now, a boy in a village in Nigeria can showcase his works to people in San Francisco, to people in Japan, to people in China, to people in America, to Canada. And we can have simultaneous results by being on Facebook, Instagram, Twitter, or any of these platforms. And there are various online resources like galleries, online galleries, lots of galleries who are also art dealers, and all over who are on these platforms. Lots of art collectors and art enthusiasts are also on these platforms. You can sell your art as merchandise, I mean, endless possibilities. Also, using digital tools to create artwork is becoming a norm. It’s part of the creativity, expanding the language of creativity. So, every artist must embrace research and experimentation so that you are not left behind.

You’re an authority in the Benin court arts. What does this entail?

Well, basically, as a result of the research I carried out, I started in 1995, when I was preparing to organise and showcase my works and the works of other artists in a travelling exhibition to commemorate the invasion of Benin in 1897. So, in 1997, there was a series of commemorative activities of which art exhibitions, which I was permitted to organise, was part of. And so, we carried out research and all of that. I realised that the bronzes, as beautiful and expressive as they are, did not capture the colours that you see when you go to cultural ceremonies, festivals, or functions in the Palace or elsewhere. The bronzes, ivory works, and the traditional Benin works could not capture the vibrancy; they don’t reflect the colours because of the materials. So, I decided to start creating a series of paintings that reflect the vibrancy of the events and to also study and research the underlying principles of the events from which this festival was organised so that this could be shared with everybody. And that is what I did. We got people to start studying history, the development of this festival, the origins of this festival, the meaning behind them, and all of that, to showcase and share. And so, yes, I was able to come up with the paintings which represent the different festivals and their relevance. So, we need to share these with the significance of the development of our culture, be it in music, in costumes, or in the processes. Yeah, this is what we started, and that’s why I began to do a lot of research to get everybody together and showcase them.

As a founder of Nosona Studios, what inspired you to use your studio as a training hub for children and younger artists?  So, as you know, Lagos is the guest hub for art in Nigeria. Abuja is also developing at a fast pace, and Port Harcourt, but Lagos is the main hub, and all the art students, once they graduate, aspire to come to Lagos to try to get their head in. And, as you know, Lagos is tough, the economy is tough, so people tend to fall through the cracks and go to other things. And so, I’ve always had the vision of sharing my spaces with artists. My first space was in Lagos in 1995. It was called Curio Studios. It was a huge space. I invited other artists to join to work on the collective. We trained IT students and all of that. I ran that for nine years. So, in 2016, when I came to Benin to get involved in politics and campaign for Government in Edo State, Godwin Obaseki I was able to get involved in those things. I tried to stay back in Benin and contribute to the development of the art and culture scene in Benin cities and other states. So, with this platform, students who are graduating from the University of Benin are going to be able to take a job in the government, and then the universities around could have a place where they could come and refine their practice, interact with older artists, get support to attend exhibitions, residencies, workshops, just to deepen their knowledge. And to help to create the value sector, every sector needs to be developed. If you do not contribute to the development, you will be backwards, and you will be homewrecked. And one person can’t only be the sector; you have to be a collective. And, of course, as you share, you also learn. So, in Benin, it’s about the collective. It’s also a creative platform where younger artists could resign from their practice and they could come back with older artists. And there are also places where older artists can come and stay in the workshops and other residencies. And also create a platform where they can

interact with international institutions. We have been partners to speak to Cape Green University, to SOA, to Oxford, to the Global Forum. So, we want this interaction to be an opportunity for local artists to also seek to take their works to an international platform. And so far, in the last seven years, I don’t think we’ve done that. We can see our students, acting to uncover our residents, blossom within that area, and make it a safe place to work and to learn. And as we continue to participate, we can formalise the sector more and more. It also increases the rewards that are available to artists, collectors, and society in general. Because as you know, art is something that depends on the perception and the exposure of society. So we do beauty and truth, and we try to find a way to show it to a better environment. And I think that’s what we should be working on.

Where is your favourite place of all the places you’ve exhibited your work around the world?

Well, right now, my favourite is the British Museum, where I’m showcasing works to do with the topic of human trafficking and political migration. It’s a place where you have six million visitors every year. I’m showcasing my work in the Special Project Room. It has broken all the records of attendance by the way. By the grace of God.

People used to spend 10 seconds, 20 seconds, and 26 seconds viewing them, and now people are spending minutes; they are repeating. It gladdens me because the topic itself is very important, and so we share this to create a lot of awareness about illegal migration, discrimination against migrants, and the unfair situation that has led to this scourge. But more importantly, to share possible solutions to stop this human trafficking and illegal migration, we need to engage on the issue of the gate to reality, to see the background of human beings, to classify and apply it, and treat them better and also encourage the authorities to do what they are doing to stop it. So, today, with IT, you can get more people employed, you can get people to be good translators, by taking over the internet, or by learning IT skills, like coding, and all of this, so that if we train the young people, or we train the most young people on the continent, they do not feel the need to travel, because anywhere they are, we can provide services over the internet, to people in India, China, anywhere, Canada, and get paid in foreign exchange. So, they don’t need to leave their homes, or they don’t need to want to travel or migrate anywhere, and wherever they get to, they become an asset instead of a liability. And so, we are pushing to be different; we are trying to be active. We have to now invent, on the continent, train a lot of young people, to create a fast culture of authentic internet, to obscure people, so that we can have people by bringing in the young people, and becoming assets to go over the continent, and, to look for the solutions, like, we also took on, to do a solution, and, so, I’m excited about that, and, to see what the future holds, as we continue to build upon that.

Being appointed as the consultant and advisor  in the arts and culture of the Edo state government is a remarkable achievement. What initiatives or projects are you currently involved in that aim to promote arts and culture within the region?

Oh, there’s a lot. As I said earlier, we have the Edo Global Arts Foundation.

Through my initiative for the Edo Global Arts Foundation, we’ve created a platform where we can support artists for residencies for workshops. We’ve created spaces for them where they can take off and practice until they

are strong enough to move on, and various other activities which will help in the development of their careers. We also create opportunities for them to interact with international institutions and opportunities and get featured in all of these. But more importantly, working with the governor and the governments of Edo state has resulted in the creation of MOWAA, the Museum of West African Arts, which will provide opportunities for over 30,000 citizens and planning for over 30,000 citizens. The Victor Uwaifo creative hub is there built as a sound stage and editing studio for creatives by the Edo State government. These are projects that also create opportunities and training for the sectors, which we cannot even compromise, because in the building of the project, people are going to supply cement, people are going to supply sand, nails, and wood. So the economic benefits are humongous. And then, it’s going to create jobs for curators, for those conservators, for students, for lecturers, for a lot of people. It’s going to become a repository research centre. It will also showcase artworks and give opportunities for artists to showcase their work, collect and visit. And then the tourism aspect. A lot of people are going to want to travel, to come visit and see the artworks, the bronzers, the institutions. So the economic benefits in terms of flights, transport, people paying for hotels, food, taxis, buying memorabilia; it’s a huge ecosystem that has resulted out of this. And not to talk of the public relations aspect, the effect it has on the confidence of our people, on the image of our country, of our state. And so, yes, it has been a very rewarding and exciting collaboration or service to the people and the government.

And yeah, I think that is what I will say for now.

Nigeria has a rich and diverse artistic heritage.

How do you see contemporary Nigerian art evolving, and what role does it play in shaping the nation’s cultural identity?

Well, I think it’s just amazing to see what’s happening in the contemporary art scene and to see how contemporary artists are contributing to the global artistic creative

pool. I often say that art and creativity are our comparative advantage, and this uniqueness is something that, in sharing with the world, we retain an authenticity that cannot be replicated. I think that hearing our voices, you know, just the culture is the way of living of the people. And so, to share our culture with the world and to share our creativity is also a way of marketing our people, marketing our culture. And to show that we are part of the global community, we can take our rightful place. When you look at what Afrobeats is doing to the world, a lot of people don’t realise that before Afrobeats, the visual arts was the critical ambassador for our country’s culture and image. Our country’s image has contributed a lot to our economy. Because tourists come, they purchase stuff and all of that. And so, for me, I think the vibrancy of the creativity of our youths is being unleashed. And this is creating a lot of opportunity also for them and the economy. To harness this properly, it can become a huge foreign exchange earner, creating livelihoods for a lot of young people and a lot of other institutions that support the creative ecosystem.

Beyond your artistic endeavours, what other forms of art and creative expressions inspire you in your daily life?

Music is something that I cherish because I’m also a performer and singer. I compose music, and I find that this is great for inspiration. Music is great for expression, relieving stress, and saying the things you need to say as well as contributing thoughts and ideas and entertainment. Also, I think other things that inspire me are history, the beauty of nature, and human relationships because it’s also a beautiful thing to see people change, to see people grow, to see people blossom. It’s always amazing to experience. Yeah, I think I get my inspiration from human interaction, from nature, from music, creating music, listening to music, travelling, and seeing other cultures. It’s very important to learn about other cultures. Otherwise, you end up thinking that the grass is only green in your compound. But the more you learn about other cultures, the more you develop a healthy respect for the goal of humanity, and you begin to realise that the human story, the human experience, cannot be seen only from one perspective. It has to be seen from this collection of cultures and traditions and human experiences to understand it, to respect it, and to learn that in collaboration with other people, we can become like an orchestra which, when put together properly, can create the most

marvelous music, the most marvelous and harmonious sounds. And it’s only with this healthy respect and this sense of respect that you realise that no race is inferior to the other, no race is superior to the other, and that when working together and having a healthy respect for each other, we can create a more beautiful and harmonious world.

You are also a singer-songwriter. How does your work as an artist influence your music and vice versa?

Well, basically like I said, the things that inspire me... are the things which also inspire my songwriting or my singing and performances.

Nature, the environment, what we are doing to the environment and also human interactions, what are we doing to ourselves and our environment, how do we create a more harmonious relationship between ourselves and our environment. All of these things are things that inspire me. Also, the joys of life, beauty in life, and discovering beauty affect my art. Because as you know, in composing music, you use different sounds, tones, instruments, and textures, so it is in art. In creating a painting, you use different colours, hues, different strokes, and different instruments to form the thoughts, to present it to the viewer or the listener in such a way that they can understand or grasp what you are trying to communicate. So, I see them all as similar in how they inspire each other. With music itself, I have experimented with a lot of genres. I have experimented with classical music using my language, the Edo language, to sing on top of classical compositions, and I have experimented with using the Edo language to sing on rock instrumentation, afrobeat, and all this to show that no language is inferior. If you say classical music is the highest form of music, then if my language can harmonise with it, it shows that it is not inferior or not underdeveloped. It’s something that continues to propagate the beauty of humanity.

UNEXPECTED PAIRING FASHION

MIXING AND MATCHING UNCONVENTIONAL STYLES FOR A FRESH WARDROBE

BY DORCAS AKINTOYE

There is no better way to express yourself in fashion than by fusing disparate trends. Let go of the fashion manual and embrace the art of unconventional pairing to build a wardrobe that is unique to you. In this post, we’ll look at six creative ways to mix various looks to produce a new, striking appearance that highlights your uniqueness.

1.

BOHOCHIC MEETS MINIMALISM

Boho style and minimalism go well together because of their free-spirited moods. Combining a crisp white button-down shirt and a flowing bohemian maxi skirt looks great. Add simple jewellery in geometric shapes and sleek sandals to balance the two conflicting styles.

2.

ATHLEISURE WITH ELEGANCE

You can muddle the lines between sporty and classy by wearing your favourite athleisure joggers with a fitted blazer. Add a trendy pair of sneakers and bold earrings to upgrade the appearance. This unexpected combination is ideal for those days when you seek comfort without sacrificing flair.

Mix edgy elements with preppy classics to unleash your inner rebel. Consider wearing a leather motorcycle jacket with a neat collared shirt and pleated skirt. An original fusion of edgy and polished is achieved by adding combat boots and a studded belt to the ensemble.

CONCLUSION

5.

appeal of vintage pieces with contemporary essentials. Pair a retro flowery dress with a modern leather jacket and clunky sneakers. Finish it off with a chic crossbody bag to create a style that is both vintage and modern.

Mix glam rock and romantic touches to create a stunning ensemble. Wear a metallic sequin blouse with a tulle skirt to create an edgy and delicate look. Finish the look with ankle boots and a striking belt for an ensemble that is ready to rock any event.

GLAM ROCK AND ROMANTIC WHIMSY CULTURAL FUSION

6.

Blend elements from various cultures to embrace global influences. Combine a colourful skirt from one culture with a traditional embroidered jacket from another. It’s important to select pieces with complementary colours and textures to achieve a seamless fusion of styles.

Fashion is a rule-breaking industry; the most memorable outfits frequently result from unusual pairings. You can construct a wardrobe that expresses your personality and demonstrates your inventiveness by fusing and merging unorthodox styles. Always remember that the secret is to enjoy yourself while experimenting with various pairings to discover what speaks to you. So go ahead and welcome the unexpected; your new wardrobe is waiting!

THE PERFECT DATE NIGHT RECIPE

BY IJEOMA EZEANYIKA

You do not have to go out to enjoy a special night with your special someone. You can enjoy the cosy evening in the comfort of your home, away from the noise and, most certainly, away from the gaze of strangers. All you need to do is whip up a romantic delicacy that complements the romantic evening. Now, in case you are unsure what dish to make, here is the perfect date night recipe to help spice up the moment.

SEAFOOD PASTA RECIPE

With a prep time of 5 minutes and a total cook time of 30 minutes, this dish always makes the highlight for every date night, as the preparation process has a way of making the couples draw closer to each other because it takes them on a romantic escapade to Italy. It is a mixture of fun and love with a sprinkle of deliciousness.

Ingredients

• 12 oz spaghetti

• 2 tbsp butter

• 1/2 lb shrimp, peeled and deveined

• 1/2 lb scallops, patted dry

• Kosher salt

• Freshly ground black pepper

• 1 small shallot, minced

• 3 cloves garlic, minced

• 3/4 c milk

• 3/4 c low-sodium chicken or vegetable broth

• 1/2 c freshly grated Parmesan, plus more for serving

• 1 c chopped tomatoes

• 1/4 c freshly chopped parsley, plus more for garnish

• 1/2 c lemon juice

Directions

Step 1

Following the cooking directions in the package of the spaghetti product you will be using, cook the spaghetti in a large pot of salted boiling water until al dante. Then drain out the water and set aside.

Step 2

Over medium heat, melt the butter in a large skillet. After that, add in your shrimp and scallops, then season with salt and pepper. Cook each side for 2 minutes, then transfer to a plate.

Step 3

Pour your shallot and garlic into the skillet and cook until soft and fragrant. Add shallot and garlic to the skillet and cook for 3 minutes until soft and fragrant.

Step 4

Add in milk, broth, parmesan, tomatoes, and parsley, then season with salt (do not use all the parsley and parmesan; save some for garnishing). Simmer all for 3 minutes.

Step 5

Add the shrimp and scallops you had aside, and toss them all together until well combined. Then squeeze in lemon juice.

Step 6

Pour in your cooked spaghetti and toss until fully coated.

Step 7

Garnish with parsley, and serve with parmesan.

Enjoy!

THE ULTIMATE GUIDE TO HANDLING CULTURE SHOCK

BY IJEOMA EZEANYIKA

Culture shock is that feeling of anxiety, confusion, or fear you may experience when you move to a new environment that practices a culture different from what you are used to. Culture shock isn’t the result of a single occurrence; instead, it is the accumulation of a series of events, and the adjustment phase of culture shock is usually fairly intense, especially when you move from a rural area to an urban area, go to a different state for business or study, marry into a different culture, or relocate to an entirely new country. However, as you become more familiar with the place, the people and the food, it dissipates with time.

HOW TO HANDLE CULTURE SHOCK

Just in case you haven’t explored that city you’ve always dreamt of because you are afraid of how detrimental the culture shock may be on you, here are some tips to help you overcome culture shock so you can explore life as you want.

Be Open-minded

It never hurts to be open-minded. Give that new culture a chance to present itself to you, and try to see the reason for the cultural differences. That way, you will understand why the people there behave the way they do.

Don’t Steal Yourself Off

Be active and socialise with others; don’t lock yourself inside or try to stay isolated all the time. Come out of your shell and get involved by participating in activities, joining in festivities, grocery shopping at the supermarket, or just working. The more you face the new environment head-on, the faster you can get over the culture shock.

Be Honest

The truth will always set you free, so come clean about your confusion and disorientation. Talk to the locals about your issue, ask questions, and seek clarifications for the things you aren’t sure of. That way, you will understand things better, and your adaptation process will happen smoothly.

Communicate

Communication is a two-way process, so as you learn about the new culture, talk to them about your cultural background, too. That will help them understand your angle and point of view and explain certain behaviours you may display to them. This will not only reduce misunderstandings but also foster acceptability.

Don’t Compare

Comparison steals your joy, so don’t compare. Don’t try to look at how different the new environment is from home because this will only make you homesick and deprive you of getting acquainted with the new culture and its environment.

BY BOLUWATIFE ADESINA

MOVIE REVIEW:

Talk to Me

WATCH OF THE WEEK

STRAYS

treated cruelly. But Doug wants rid of Reggie, as we will always call him, so he drives him further and further away, throws his ball, and drives home without him. Reggie thinks this a game, the best game, and it’s his job to bring the ball back, as he always does.

In a relatively short time, independent studio A24 has quickly garnered a reputation as the home of modern horror/thriller cinema. Bone chillers like Midsommar and Hereditary, featherysharp teen-horror like Bodies Bodies Bodies are but a few of the films under this production house’s umbrella. They’ve shown time and again they are not afraid to give new filmmakers a chance.

In true indie fashion, A24 has given the opportunity to two Youtubers, Danny and Michael Philippou, to direct their first feature flick. Enter Talk to Me, which is a bold debut, leaning on classic horror tropes but doing more than enough to stand out amongst the increasingly bigger pool of horror dreck.

Talk to Me follows Mia (a sensational Sophie Wilde), a teen dealing with her mother’s accidental overdose. She and her friends Jade (Alexandra Jensen)  and Riley (Joe Bird) meet a group of friends who claim to have an embalmed hand that allows them to communicate with spirits. It’s all fun and games until someone takes it too far, and the spirits follow the users into our world (I really like the idea of a handshake, the global sign of connection being how the embalmed hand connects the user to the spirits. It turns an innocuous symbol of interdependence into something more sinister).

For a fairly common horror trope, Talk to Me is an impressive take on what could’ve otherwise been a tired cliche due to both its script and pacing. There is a modernity to the script and performances that is sorely missing in the big tentpole horror films of the year (The Nun II; The Pope’s Exorcist, I’m staring directly at you). The picture spends a lot of time establishing the relationship between Jade, Riley and Mia and, crucially, the withering relationship between Mia and her father.

It’s bold for a horror film, but the choice to show the bond between the characters is a very smart choice that pays off when the chaos ensues.  The film is paced very strongly, smartly interspersing the possession scenes (shot brilliantly, with superb practical effects and really fun camera work that helps detail precisely what the characters are seeing and going through) with family drama. Eventually, someone goes too far, and the spirits from the hand step through the void and follow one of the characters home. Sophie Wilde is the clear star of the flick, with her skinny, almost gaunt frame standing in stark contrast to her large-as-dinner-plates eyes. When conversing with the spirits, she encounters her mother’s soul, and this starts a chain reaction that drives the latter half of the picture. As the emotional anchor, her performance tugs at your heartstrings, almost making you rationalise her actions.

My main issues with the film surround the third act, precisely the ending of the film. Avoiding spoilers, it just comes off a little rushed as character motivations, previously easy to follow, become muddled and very coincidental. Maybe it’s a consequence of the relatively brief 90-minute runtime, but I was left dissatisfied, even if the final shot of the movie is pretty smart.

Overall, I quite liked Talk to Me. It’s an easy film to recommend to horror fans and is a triumph of independent filmmaking. Huge props to both Philippou brothers and of course, A24, which is quickly proving to be the most interesting film studio outside the big boys.

Based on the poster showing two cute dogs – a border terrier and a Boston terrier – I had assumed Strays was a (probably lame) kiddie film. I can now tell you that Strays is vulgar, rude, offensive and disgusting. But the biggest, weirdest shock? At a certain point, I realised it was funny and rather touching and that I was having fun. In other words, I was pleasantly surprised. Or, given its frequent scatological content, pleasantly surprised, unpleasantly.

The film is directed by Josh Greenbaum and written by Dan Perrault, and our main dog is the border terrier, Reggie (voiced by Will Ferrell, who, of course, had to be somewhere in the mix). We first meet Reggie running through a field and chasing butterflies while declaring: ‘This is a great day, the greatest day!’ But it turns out that his owner, Doug (Will Forte), is a stoner brute. Reggie doesn’t know that his name is Reggie. He thinks his name is ‘Dumbass Shitbag’ because that is what Doug always calls him. Doug kicks Reggie, throws cans at him, and shuts the door against him. I did not enjoy this part. I don’t want to see dogs

But then Doug drops him in the midst of a city many miles away where Reggie is at a loss until he meets another bunch of strays: Bug, the Boston terrier (voiced by Jamie Foxx), Maggie, the rough-coated collie (Isla Fisher) and a great dane, Hunter (Randall Park). Hunter is not insignificantly endowed, shall we say, and when complimented, happily confides: ‘I like to keep it clean. I lick it a lot.’ These dogs teach Reggie to negotiate the streets and introduce him to their favourite pastimes, like humping garden furniture. Reggie, who is still pure of spirit, insists he isn’t a stray, but when he tells them what he thinks his name is, the others get it. Eventually Reggie gets it, too, and

they plot their revenge: they will find Doug and bite his penis off. There is no gentler way of saying it. They have their adventures on their way. Some are full-on gross – an escape from the clutches of Animal Control is scatologically full-on – but some are uncommonly smart, such as the scene involving a labrador (‘the Narrator Dog’), and there is also a clever cameo from Dennis Quaid. The dogs are impeccably rendered. Unlike, say, Cocaine Bear, this isn’t pure CGI. Instead, it’s a complicated mix of real dogs and special effects, and the results are stunning. All the strays have a backstory, and the film understands the nature of dogs much better than, for example, Wes Anderson’s Isle of Dogs. It is funny, I think because it finds some kind of balance between its wild excesses and saying something true about man’s best friend. Will Reggie bite Doug’s penis off? Or, when it comes to it, does he just want Doug to call him ‘a good boy’? I welled up a little at the end. You may like it. Just don’t take the kids.

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