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PHOTOS: Chief Nike Davies-Okundaye and the Legacy of Nike Art Centre

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Introduction

Chief (Mrs.) Oyenike Monica Okundaye, popularly known as Nike Davies-Okundaye or simply “Mama Nike,” is a Nigerian artist, textile designer, and cultural ambassador whose life’s work has become a beacon of empowerment through art. Born in 1951 in Ogidi-Ijumu, Kogi State, Nigeria, she transformed her humble beginnings into a global legacy by creating art centres, training thousands of youths, and establishing the largest art gallery in West Africa.

Early Life and Artistic Roots

Nike Davies-Okundaye grew up surrounded by traditional weaving, indigo dyeing, and Adire textile production in her hometown of Ogidi. Her parents and great-grandmother, who were musicians and craftspeople, nurtured her creativity from childhood. Later, she spent her early adult years in Osogbo, one of Nigeria’s cultural capitals, where she immersed herself in the thriving art scene dominated by indigo dyeing and traditional crafts. This environment shaped her artistic identity and philosophy of using art as a tool for empowerment.

Establishment of the Nike Art Centre

In September 2009, Chief Nike founded the Nike Art and Culture Centre in Osogbo. The centre was created solely from her earnings as an artist, without any government support. She began the initiative with 20 young girls she found aimlessly roaming the streets of Osogbo, giving them a lifeline through free training in weaving, painting, and textile design.

Since then, the centre has expanded its reach and impact. To date, over 3,000 young Nigerians have been trained at her art centres, many of whom are now independent artists earning decent livelihoods.

Furthermore, students from other African countries travel to Nigeria to study at her centres, a testament to their international recognition.

Women Empowerment and Cultural Preservation

Chief Nike’s philosophy has always been to empower women and youth through art. She established cottage weaving workshops in Abuja, Osogbo, and Ogidi-Ijumu, helping rural women gain financial independence. By teaching them traditional crafts, she not only preserved cultural heritage but also provided sustainable livelihoods in their communities.

Her work has made her an icon of economic and social empowerment through creativity, inspiring countless young Nigerians to pursue art professionally.

Nike Art Gallery: The Largest in West Africa

Beyond the training centres, Chief Nike owns and curates the Nike Art Galleries in Lagos, Osogbo, Ogidi-Ijumu, and Abuja. The Nike Art Gallery in Lagos, located in Lekki, is the largest in West Africa.

This four-story building houses over 7,000 artworks, including paintings, textiles, sculptures, and crafts from Nigerian and African artists. More than just a gallery, it serves as a textile museum, cultural hub, and tourist destination. The gallery is open seven days a week and frequently hosts exhibitions, workshops, and cultural events. Plans are underway to add a coffee shop to enhance the visitor experience.

Global Recognition

Chief Nike’s unique style in textile design and painting has earned her international recognition. She has showcased her work and conducted workshops across the world, including in the United States, Belgium, Germany, Austria, Italy, and the United Kingdom. Through these exhibitions, she has become a global ambassador for Nigerian art and culture, breaking boundaries and introducing traditional crafts to new audiences.

Legacy and Impact

Nike Davies-Okundaye is not just an artist but also a mentor, cultural custodian, and philanthropist. By founding four art centres across Nigeria, she has provided free training in visual, musical, and performing arts, creating a ripple effect of cultural preservation and economic empowerment.

Her work has preserved Nigeria’s rich traditions of Adire and indigo dyeing while ensuring they remain relevant in the modern art world. Today, the Nike Art Centres and Galleries stand as monuments to her vision: that art can transform lives, empower communities, and preserve cultural identity.

From a small village in Kogi State to international stages, Chief Nike Davies-Okundaye has dedicated her life to art, culture, and empowerment. Her legacy lives not only in the walls of the Nike Art Gallery but in the thousands of artists she has trained and the women she has empowered. In preserving the past and inspiring the future, Mama Nike continues to stand as one of Nigeria’s greatest cultural icons.

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Lifestyle

Adekunle Gold embraces Nigerian roots with new album ‘Fuji’

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Nigerian singer Adekunle Gold returns to his roots on Friday with the release of his sixth album, “Fuji”, which he described as a tribute to the ancestral sounds of his home country.

“That sound is the soundtrack of Lagos. It’s everywhere. That sound gave birth to Afrobeats and all the things that we hear right now,” Gold told AFP in Paris.

A descendant of the Kosoko royal family, the Afropop icon draws inspiration from the Indigenous Yoruba community, one of the largest ethnic groups in West Africa.

It is “one of the oldest sounds of Nigeria”, the 38-year-old singer said.

Fuji music, a popular genre that evolved from Yoruba Muslim culture, is known for its fast beats, large ensemble of percussion instruments, and lyrics based on key sociopolitical themes.

The genre took off in Nigeria in the 1960s, shortly after the country declared independence.

Late singer-songwriter Ayinde Barrister, widely regarded as the pioneer of Fuji music, named the style after the famous Japanese mountain.

Gold blends traditional elements from Nigeria’s rich musical heritage with the catchy melodies of contemporary R&B.

Like Burna Boy or Davido, he represents this generation of Nigerian artists who have bridged divides between past and present for an international audience.

“You listen to it, and it makes your body move. It’s magical,” the singer said.

“Fuji, Highlife (another traditional genre), every sound from Nigeria makes you feel alive. I feel like that’s why it does well,” he added.

Full of colourful outfits, lively dancing, and flower-covered boats, his “Party No Dey Stop” music video — a viral duet with fellow Nigerian Zinoleesky — has amassed 29 million views on YouTube.

The song is his first major hit in the United States.

Gold, also known as AG Baby, gained fame in Nigeria in 2014 after he covered a song by popular boy band One Direction.

Since then, he has signed with American label Def Jam Recordings and has collaborated on the track “Falling Up” with funk legend Nile Rodgers and musician Pharrell Williams.

Spreading culture

Gold invites listeners to delve deep into the latest album, an emotional journey inspired by significant events from his life.

“I talk about my grief when I lost my father. I talk about my love life, my daughter, about being a family man,” he explained.

While Gold lives in the United States, he said his “heart is in Lagos”.

“I’m spreading the culture, talking about my heritage, talking about tradition,” he said.

However, challenges persist in Nigeria, where nearly 60 per cent of the population lives below the poverty line

“There have been steps in the right direction,” Gold said as he expressed hope for the future of his country.

“It is not enough for the government to do everything,” he added, calling on people to “do what we can as citizens”.

Committed to the fight against sickle cell disease, which he has lived with his entire life, Gold launched a foundation this year to fund treatment and support local charities.

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Lifestyle

Lara George: Nigerian Gospel Icon with a Global Voice

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Lara George is a Nigerian gospel singer, songwriter, and producer whose powerful voice and timeless songs have made her one of the most respected figures in African gospel music. Based in the United States, she continues to influence gospel music worldwide through her artistry, leadership, and devotion to worship.

Early Life and Education

Lara George was born into a music-loving family in Lagos State, Nigeria. Her passion for singing was evident from an early age, and she nurtured her talent while growing up in Lagos. She later studied Architecture at the University of Lagos, where she also began to actively pursue her passion for gospel music.

Musical Career and Breakthrough

George rose to prominence as a member of the inspirational music group Kush, active in the early 2000s. The group, made up of gospel-influenced young artists, became popular for its innovative fusion of gospel, hip hop, and contemporary African sounds. Though the group disbanded, it laid the foundation for George’s successful solo career.

Her debut solo album, Forever in My Heart (2008), included the breakout hit “Ijoba Orun.” The song quickly became a gospel anthem in Nigeria, sung in churches and concerts across Africa and beyond. Its success established Lara George as one of the leading gospel voices of her generation.

Following this, she released other notable projects, including Higher (2012), Love Nwantintin (2014), and The Best of Lara George (2017), showcasing her versatility and consistency as a gospel artist.

Achievements and Recognition

Over the years, Lara George has earned numerous accolades. She won Best Female Gospel Artiste at the 2012 Africa Gospel Music Awards, among other honors.

Beyond her music, George has contributed to the industry through leadership. She serves as the Vice President of SoForte Entertainment Distribution Ltd., a pioneering Nigerian company focused on strengthening music distribution across Africa.

In 2021, her global impact was further recognized when she was invited to join the Recording Academy (organizers of the Grammy Awards) as a Voting Member, affirming her status as an international gospel voice.

Personal Life

Lara George is married to Gbenga George, an accomplished legal practitioner. Together they have two children. The family resides in Alpharetta, Georgia, United States, where George balances her family life with her music career and industry work.

Legacy and Influence

Lara George’s music blends heartfelt worship with contemporary gospel sounds, inspiring believers and non-believers alike. Songs like Ijoba Orun remain evergreen classics, while her career continues to highlight the global reach of Nigerian gospel music.

Through her voice, leadership, and consistency, Lara George has left an indelible mark on gospel music, both in Nigeria and internationally.

Sources

Vanguard Nigeria – Lara George: Life as a Gospel Singer (2018)

Africa Gospel Music Awards – Winners List 2012

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Lifestyle

The 1973 Nigerian “Hides and Skins” Postage Stamp: A Window into Economic Identity

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In 1973, Nigeria introduced a new definitive postage stamp series to reflect the country’s transition from the British sterling system to the Naira and Kobo currency. Known as the Industry and National Pride issue, or simply the 1973–1986 Definitive Issue, the series highlighted major sectors that shaped Nigeria’s economy and cultural identity in the post-independence period.

Among the most notable designs in the set was the 1 kobo “Hides and Skins” stamp, which depicted the trade in animal hides and skins. This was not a casual choice. For decades, hides and skins were one of Nigeria’s leading agricultural exports, particularly from the northern region, and they played a major role in the nation’s foreign exchange earnings during the 1960s and 1970s. By placing this industry on a definitive stamp, Nigeria emphasized its economic significance while also projecting a sense of national pride rooted in traditional livelihoods.

The Role of Definitive Stamps

Unlike commemorative stamps, which are printed for specific events or anniversaries, definitive stamps are produced for everyday postal use and often remain in circulation for many years. The “Hides and Skins” stamp, therefore, went beyond a symbolic tribute. It became a practical emblem of Nigerian economic identity, traveling across the country and abroad through the nation’s postal system.

Artistic Contributions

The 1973 series included designs created by Nigerian artists such as Austin Onwudimegwu and Erhabor Emokpae, both of whom contributed to different denominations in the set. While collectors and catalogues acknowledge their involvement in the issue, attribution for specific denominations, including the “Hides and Skins” design, is not always clearly documented. What remains clear, however, is that the series as a whole reflected a conscious effort to use Nigerian artistic talent to celebrate national industry.

A Stamp as History

To philatelists and historians, the “Hides and Skins” stamp is more than just a piece of postal paper. It embodies a snapshot of Nigeria’s economic priorities at a time when agriculture, rather than oil, still dominated the country’s exports. It also reflects the broader post-independence aspiration to craft a distinctly Nigerian visual identity in official symbols.

Today, this stamp is valued not only for its function and design but also for its historical resonance. It offers collectors and researchers a window into how a young nation sought to represent itself to the world—through industry, culture, and pride.

Sources

Stanley Gibbons Stamp Catalogue: Commonwealth and British Empire Stamps (West Africa listings).

Scott Standard Postage Stamp Catalogue (Nigeria 1973–1986 definitive issues)

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