Personality in Focus
How Title Deed is Responding to Stolen African Art
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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.
Personality in Focus
Ofala Festival: Igwe Achebe Applauds Globacom’s Enduring Cultural Partnership
The Obi of Onitsha, His Majesty Igwe Alfred Nnaemeka Achebe, has commended Globacom for its unwavering commitment to the preservation and promotion of Nigeria’s cultural heritage, noting that the telecommunications company’s sustained support has helped transform the Ofala Festival into a world-renowned cultural celebration.
Speaking on the 2026 edition of the festival, held at Ime Obi, Onitsha, Anambra State, on Friday, the monarch paid a glowing tribute to Globacom for its longstanding role as the principal sponsor of the festival, a partnership that has spanned fifteen consecutive years since 2011.
According to the monarch, “Their partnership has transformed the festival from a palace ritual to a world-renowned cultural festival owes a great deal to purposeful partnership. Since 2011, Globacom has stood with us as our principal partner – now fifteen consecutive years of unwavering commitment.” He added that “In good times and challenging times, Globacom has helped us preserve the authenticity of Ofala while enhancing its presentation, documentation, broadcast and global reach. They have helped take a living heritage to the global stage”.
Igwe Achebe also applauded the vision of Globacom’s Chairman, Dr Mike Adenuga Jr., whose commitment to cultural preservation, he noted, reflects a profound appreciation of the role of indigenous traditions in strengthening national identity and social cohesion.
“I thank Globacom and its Chairman, Otunba (Dr) Mike Adenuga Jr., GCON, a true man of culture, for his vision and belief that culture is not a luxury but a foundation for unity,” the monarch said.
Commenting on the theme of this year’s festival, “Igba Mbo, Iga N’Iru” — Strive and Advance — Igwe Achebe described it as a compelling call to diligence, excellence, self-improvement and collective progress. He explained that the theme embodied the enduring spirit of the forebears who built the Onitsha kingdom on the banks of the Niger, while challenging younger generations to preserve that legacy through enterprise, purposeful endeavour and a commitment to progress.
In his goodwill message to the monarch and the people of Onitsha, Dr Adenuga described Globacom’s association with the Ofala Festival “since 2011 has been much more than a corporate partnership. It has been a relationship which we cherish deeply and regard as a privilege”. He expressed profound appreciation to Igwe Achebe for the opportunity afforded Globacom to contribute to the preservation, celebration and wider projection of the community’s priceless cultural heritage.
He noted that the annual festival provides a valuable platform for showcasing the rich cultural traditions, dignity and enduring values of the Onitsha people to audiences across Nigeria, Africa and the wider world.
Through its longstanding partnership with Ofala, Globacom continues to demonstrate that corporate citizenship extends beyond commercial enterprise to the preservation of the cultural foundations that give communities their identity, strengthen their unity and connect generations.
Personality in Focus
Kardinal Takes Africa’s Business Travel Story to ECOWAS Startup Awards
Kardinal Business Travel, a travel technology company with African and global focus, was among 60 startups that pitched at the 2nd edition of the Economic Community of West African States (ECOWAS) Startup Awards, held at the ECOWAS Commission headquarters in Abuja recently.
The company’s Chief Executive Officer and Founder, Cornelius Ugwunwa, presented the company’s case at the three-day event. The awards was part of an ECOWAS initiative to help West African businesses and startups scale through digital transformation, regional integration and sustainable value chains, with the aim of widening access to global markets.
Temitope Kareem, founder of Nigerian healthtech firm HubPharm Africa, won the top prize of $30,000. Senegal’s Gaynako took home $20,000 as first runner-up, while Steve Bah Blesson’s MyOpinion from Côte d’Ivoire won $15,000 as second runner-up.
Speaking during his pitch, Ugwunwa said Africa needs a new system for business travel. He cited a market with $75 billion in inbound travel spending and a strong business travel component in 2025, while travel and tourism as a whole contributed $228 billion to the regional economy.
“When a company sends its employees across Africa for a business engagement, we at Kardinal noticed the challenges of countless inboxes, spreadsheets and emails, mostly after the trip.
Businesses keep asking: How much did we spend? Who did we spend it on? Was it above or below budget? Can we reconcile everything on one platform?” he said.
He described African business travel as a $30 billion market that is largely fragmented and overly dependent on manual processes.
According to him, many businesses lose over $1 billion to manual travel processing and cannot track spending in real time. “That is why Kardinal exists: to solve this entrenched problem,” he said.
Ugwunwa said GoKardinal is an artificial intelligence-driven platform built to track expenses for African businesses. It brings the entire business travel lifecycle (planning, budgeting, booking, financing and expense tracking) onto one platform, in real time.
“GoKardinal is not another travel platform. It is an infrastructure for business travel, powered by AI for expense management,” he said, adding that the idea is to help businesses move without delay from one location to another to do their best work, expand and make profit.
On the company’s performance, he said the platform serves over 51 businesses in Nigeria and across Africa, with estimated weekly profit of $10,000 and gross merchandise value of over $1 million, growing at 65 per cent annually. he added.
He noted that about 80 per cent of African businesses still run their business travel manually, without any form of expense tracking, in a market worth over $30 billion annually. “African business travel is not just travelling for the fun of it.
It is an ecosystem with the potential to generate over $70 billion when digitalised,” Ugwunwa said.
Personality in Focus
Ibadin Advises Military Personnel Against Unmanaged Anger
The President of Security Resources & Risk Management Academy, Lagos, Mr. Matthew Ibadin, has charged officers of the Nigerian Armed Forces and allied nations to practice emotional discipline, warning that unmanaged anger remains a greater threat to a Staff Officer than the enemy.
Ibadin, who is also a doctoral researcher at the Nigerian Defence Academy (NDA) and University of Abuja, stated this on Monday while delivering a lecture on “Emotional Discipline Under Pressure and Anger Management for Staff Officers” to participants of Senior Course 48 at the Armed Forces Command and Staff College (AFCSC), Jaji, Kaduna.
The lecture was attended by 436 officers comprising the Nigerian Army, Nigerian Navy, Nigerian Air Force and officers from eight friendly nations.
Describing anger as “a temporary madness that leaves a permanent record,” Ibadin warned officers that “the line between a respected officer and an inmate is thinner than you can imagine.”
“Anger may enter the room, but must never take command,” he said.
The Lion Principle
Illustrating his point with the parable of the lions, Ibadin noted that while both male and female lions roar, the female roars only when necessary and lives 15-18 years compared to 10-12 years for the male.
“She lives longer not because she is weaker, but because she is more disciplined. Many of us have become male lions in uniform – fighting juniors, spouses, traffic, minor disagreements even when no real threat exists. That constant agitation slowly destroys what you have built,” he said.
He therefore charged officers to “be a female lion in strategy and a male lion only when tactically necessary.”
Five Battlefields Where Anger Destroys
Ibadin identified five battlefields where undisciplined anger destroys officers: Health, Home Front, Office and Command, Career and Prison, and Relationships.
On health, he described anger as a silent killer that triggers hypertension, stroke and cardiac arrest, noting that many officers survive the war front but do not survive peacetime.
“At Jaji, your rank commands respect, but at home your rank is irrelevant. If you win at the office and lose at home, you have lost. An officer whose home is under emotional fire cannot think clearly at the command post,” he cautioned.
He warned that signatures appended in anger to operational orders, procurement papers and personnel assessments could lead to Boards of Inquiry, career ruin and mission failure.
He added that 70 percent of inmates in correctional centres for murder never planned to kill, but acted in a moment of unmanaged anger.
Practical Tools
Ibadin introduced practical tools including the 90-Second Rule and the S.T.O.P Protocol – Stop, Take a Breath (4-4-4), Observe, and Proceed with Discipline – for decisions under pressure.
He adopted Aristotle’s five tests for disciplining anger: Right Person, Right Reason, Right Time, Right Degree, and Right Manner.






