Personality in Focus
How Title Deed is Responding to Stolen African Art
By Jane Efagwu Photos: Olaseni Okedairo
It is no longer a secret. 2020 has proven to be the year of something bigger than anything else: The black revolution. Africans everywhere are taking a stand against systemic oppression, discrimination and objectification of the African culture and her people. While this major cultural reset now dominates public spheres and has initiated major social discourse everywhere around the world, it is important to look back at where it all started. Africa. Before the now popular violence and commodification of Africans themselves, there was the very unpopular violence and commodification of African art.
Stolen. Shipped. Sold. Copied. Displayed. And now, owned by major museums around the world, the journey to the world stage for African art has been a painful one. However, if it’s one thing about art, it’s that it will always turn pain to power. This power is what Title Deed, a collective of seven young Nigerian contemporary artists-Wasiu Eshinlokun, Maureen Uzoh, Ken Nwadiogbu, Lekan Abatan, Emma Odumade, Margaret Otoikhine and Yussuff Aina have employed in correcting the narrative and telling their own stories through their own art and in their own spaces.
Re: Mediation. An exhibition which was held at the African Artists’ Foundation (AAF) at Victoria Island, Lagos featuring works that boundlessly explore the theme of restitution. In these works, these artists demonstrate the importance of understanding the past and appreciating the present as a means of predicting and owning the future.
Eshinlokun’s display features masking tapes dangling in an unending W motion, flooding the ceiling and connecting to the three art pieces on the wall which are also connected to themselves and each other. The artist goes a step further to pull the art out of the frame by featuring a live remake in a painted and taped human form. This one step produces several painted and muddled footsteps and the artist explains that this represents the movements of Africans and their culture such that we no longer know where it starts or where it stops. Wasiu also explains that the tape represents bondage as well as continuity of life for Africans, African art and of course, African artists.
For Ken Nwadiogbu the renowned hyperrealist, the eyes will always have it. This is how he represents consciousness in an unconscious world. He depicts the sale and commodification of consciousness by putting eyes on a coin. Nwadiogbu’s clever irony stings again when he puts open eyes on bodies and cages them with something made to cool us down – a fan.
To execute the theme, Maureen Uzoh employs a brilliant fuse of new media and old culture. Her works also feature heavy themes of sisterhood, African feminity and family. In one frame, Uzoh attempts to ridicule the idea of the West renting, selling or discounting African art to its rightful owners despite being aware and even wearing the countless headlines of stolen African art being reported in the media.
Abatan’s Our Ancestors Wear Prada shows the aftermath of a cross-fire meeting between Africans, their art and the West thus birthing popular phrases like ‘African American’. His works feature portraits of historical Benin, Ife and Nok art pieces dressed up in Calvin Klein, Adidas and Lacoste with African fabrics as the background. The mix up is almost comical yet thought provoking.
Restitution is literal for Yussuff Aina as he presents three dimensional versions of a recreation of Eniyan, his signature mask style. Eniyan, meaning person in Yoruba, takes on the form of newly excavated art pieces whose facial/body features have been damaged due to the gruesome unearthing process. One piece features Eniyan with palms pressed together and a marked cross on one palm. He explains that this is a way of using Western religion to beg/pray that the Westerners return the stolen pieces back to Africa.
Choosing a dramatic yet creative approach to the topic, Margaret Otoikhine casts African art and its stories in movie posters that attract you with their colors and captivate you with their details. The only photographer in the group, her use of black and white imagery on one of her pieces, Queen Idia, sees the filmmaker and photographer attempt to tell the Queen’s actual story before the tragedy. It is Margaret’s way of telling her own story as an Edo born Nigerian. She explains that the poster was actually for a short film that was supposed to be shot but was put on hold because of the pandemic.
What better way to change the narrative than to educate? But how do you educate people on what they can’t even see or understand despite how much it affects them today? Emma Odumade captures this glitch in the system by depicting the after effects of the looting on education and African children, who he says he used to represent dreams. His works are set against the heavy backdrop of the past while projecting the uncertainty of the future especially for the younger, upcoming generation.
The ‘Re: Mediation’ exhibition is a very refreshing take on the conversation surrounding African art and it’s movements because it offers a contemporary yet genuine view on the topic. The works serve as an intermediary between a distant past and an uncertain yet inspiring future. ‘Re: Mediation’ commenced on the 26th of September, 2020 and showed at the African Artists’ Foundation until the 12th of October, 2020.
Co-convener of BringBackOurGirls Movement, Aisha Yesufu, has declared her readiness to become a card-carrying member of the African Democratic Congress (ADC).
The activist said this on Wednesday, hours after Peter Obi defected from the Labour Party to the ADC in Enugu.
She called on well-meaning Nigerians to come together in unity to salvage the country come 2027 general elections.
“I have never been a card-carrying member of any political party, but I will be a card-carrying member of the ADC.
“Enough is enough. There’s no more time for us to keep shedding tears. We have cried too much.
“From this moment going forward, we will fight for Nigeria. We will have a great nation.
“ADC will take Nigeria to a point where the son-of-a-nobody can become somebody without knowing anybody,” she said.
The Secretary to the Government of the Federation, Senator George Akume, has officially wed Queen Zaynab Ngohemba, the former wife of the Ooni of Ife, Oba Adeyeye Enitan Ogunwusi.
The announcement was made public on Friday by a facebook user and member of the Dajoh family, Abraham Double-d Dajoh, via a celebratory social media post.
He confirmed the union between the high-ranking government official and the former Olori of the Ife Kingdom.
The Dajoh family described the union as “beautiful” and “uncommon,” as they formally welcomed her into their fold in Benue State.
In a statement that quickly went viral, the Dajoh family expressed their collective joy, signalling a significant chapter for the SGF’s household.
“We, the entire Dajoh Family, happily join our daddy, uncle and brother, His Excellency, The Secretary To The Government Of The Federation, Sen. George Akume Jugu Dajoh in welcoming his new and uncommon wife, Queen Zaynab Ngohemba-George Akume Dajoh, into the Dajoh family,” the post read.
The family further extended their appreciation to the political associates and supporters of the SGF, urging them to remain steadfast in their loyalty to him as he embarks on this personal journey.
“We appreciate and thank the fans and supporters of Sen. Akume for always standing by him. We enjoin every one of you to continue to support his Excellency even in this beautiful union with Queen Zaynab,” the post further read.
Queen Zaynab, who was previously known as Olori Wuraola during her 17-month marriage to the Ooni of Ife (which ended in 2017), was ushered into her new home with deep cultural reverence.
The Dajoh family emphasised the importance of their ancestral roots in Mbakor and the wider Benue State.
“Welcome to Benue State, the Food Basket of the Nation, welcome to Mbakor, the seat of leadership of the Tiv nation and welcome to the Dajoh family, the home of your darling husband. Welcome home, Queen Zaynab,” the statement concluded.
The announcement coincided with the festive period, as the family used the opportunity to wish Nigerians a happy holiday season.
“We wish you all a happy Christmas Celebration and a Prosperous New Year,” the post read.
Akume, a former Governor of Benue State and a politician, currently serves as a key figure in the President Bola Tinubu administration.
The news of his marriage to Queen Zaynab—a prominent humanitarian and former royal—has become a major talking point across the country’s social and political circles.
When contacted on the telephone on Friday, Akume’s spokesman, Yomi Odunuga, confirmed the marriage.
He, however, said contrary to reports that the wedding was held on December 24, the marriage is over a year old.
“I can confirm the marriage. However, contrary to the rumour that the marriage was concretised in Gboko on Christmas eve when the couple appeared together at an event to celebrate Christmas, it was actually a marriage that is over a year old,” Odunuga said.
Source: The Punch
The University of Nigeria, Nsukka (UNN), has appointed a renowned novelist, Chimamanda Adichie, isiting professor as part of the drive to reposition the institution on the global academic stage.
Also appointed visiting professors are African Development Bank (AfDB) executive, Prof Kevin Urama, and Prof James Robinson of the University of Chicago.
The appointments were announced through official letters dated December 18, 2025 and signed by the Vice-Chancellor, Prof Simon Ortuanya.
Among the roles expected of the trio, according to the letters, included teaching engagements, research collaboration, mentorship, and strategic academic interactions.
Adichie, it was gathered, was appointed based on her outstanding contributions to literature, creative writing, and global intellectual discourse.
According to the university, Adichie’s visiting professorial would enrich the arts and humanities of the institution through lectures, scholarly engagements, and mentorship of students and young academics.
Prof Urama, a renowned development economist and senior official at the African Development Bank, was appointed because of his “versatile expertise in development economics, climate policy, and evidence-based policymaking”.
“His engagement is expected to strengthen teaching, research, and policy-oriented programmes, particularly in economics, development studies, and related disciplines,” UNN said.
On Prof James Robinson, a political economist at the University of Chicago, UNN said his appointment was intended to deepen academic collaboration, advance research, and expose students and lecturers “to cutting-edge global scholarship in political economy and development studies”.
The acting Public Relations Officer of the institution, Inya Agha Egwu, said that the appointments align with the commitment of “the vice-chancellor to attracting eminent global scholars and industry leaders to UNN, in line with the vision of its founding fathers”.
He said: “The University of Nigeria was founded to be a globally competitive institution; the latest appointments represent a significant step towards reclaiming that legacy and enhancing its global relevance.”
Inya said the visiting professorships are designed to promote knowledge exchange, strengthen international linkages, and bridge the gap between theory, policy, and practice, adding that the latest appointments “bring the number to four visiting professors appointed by the vice-chancellor in December 2025”.
