Art X Lagos Returns For Its Seventh Edition Next Month

One Wednesday afternoon in May, mid-answer about the growing popularity of African art, Anthony Azekwoh ponders the effect he wants his art–an intergral part of the rising wave of African art globally– to have on people. “I just want people to always look at my work and be in awe,” he finally says after quietly conferring with himself for less than a nanosecond.  In a career spanning a decade of work, Azekwoh has found fresh ways to keep his audience engaged and enraptured, thanks to an engaging style that has seen him explore his interests in painting and sculpting. 

More impressively, he has garnered global recognition for paintings such as “The Red Man” and “Yasuke,” which present a vibrant vision of African art rooted in mythology and urban folklore. It’s all part of his plan to create a visual databank of Nigerian and African art.  “If I ask you who Thor is, there’s a mental image of him, but if I ask you who Sango is, it’s muddy,” he says. “It’s the same with Amadioha and other African folk heroes. I’m trying to add to the visual vocabulary that allows people to visualise our culture.”

Having turned 25 years old this year, Azekwoh’s focus is now on paying homage to the places, people, and experiences that have shaped his rise in the art world. A new exhibition, The Stars I Followed Home, details the history of his career faithfully, serving as a visual memoir of his journey. Divided into three sections, The Stars I Followed Home features pieces that offer a glimpse into the beginning of Azekwoh’s career, as well as portraits of a series of individuals who embody his interpretation of Lagos. The final section, aptly titled The Core, presents an intimate self-portrait. 

Our conversation, lightly edited, follows below. 

How did you get into art?

It started in December 2016. My laptop had broken, and my mind starts going wild if I’m not doing something creative, so I needed to find something to express myself. There were leftover A4 papers and pencils in the house, so I just started drawing designs and other things. A couple of months later, I was looking at the work of Duro Arts, Duks Art, and people like that, and I was like, “I’m trying to do this.” I started teaching myself how to draw with a mouse. From there, an American artist said he’d pay me $50 to do the cover art for his song. I did the cover, and I’ve just gone down this road since then. 

You left university at some point. Did that in any way shape your artistic journey?

At some point, I found myself in a tough spot with school. I was at Covenant University, and the place didn’t make sense. I thought about it and came to a realization that this thing was bad and depressing me, and on the other hand, I’m making actual waves in this other field, and I can go the distance. So, I decided to pursue art and see if it’s a good fit. 

You mentioned Duks Art and Duro Arts. Were there other people that you admired?

There were artists like Renike, Chigozie Obi, and Niyi Okeowo. They are people whom I liked, and I’ve disturbed them when I was around 17 years old. I would tell them what I wanted to do and ask for their advice. All of these people are now my friends, and they were always very helpful. 

You started drawing on A4 paper, but now draw digitally. What do you think is the biggest difference between drawing digitally and manually?

What I did on paper was very brief. I taught myself to draw on my computer; that’s where I honed my skill. So, I didn’t have that transition because all I know is drawing on Photoshop and Procreate. 

How did you settle on a style that works for you?

For me, finding a style has been the byproduct of experimenting and figuring out what I enjoy. I try not to concentrate on what I think people might like or what I think might sell; I concentrate on work that I fuck with. 

“Yasuke” is one of your most famous paintings. How did you approach making that? How did you react to the acclaim it received?

For context, I had made the “Red Man,” and that had gone super viral. It was kind of fucked because I’d just turned 20 and I didn’t have a strong sense of self. I kept trying to get another hit because, using music terms, you just want to have another hit because everyone is asking you for it, but that’s just not how it works. I kept on thinking, “Damn, am I a one painting wonder?” At some point, I sat down and just told myself to do what I know. So, I painted this story I’d heard of this Japanese samurai who came from Africa. It seemed very interesting to me, so I did something in that style. It was just one of those things where you’re like, “Let me just see,” and it went viral again. At this time, I was more ready and secure. I didn’t panic and I was just chill 

You’ve been learning how to sculpt digitally, how much effort does it require of you to lean into another medium?

I’ve always wanted to sculpt. I just didn’t have the money for the tools, but two years ago, I was at a point where I could start it. I was able to get the tools for it, and nothing was stopping me. It was very frustrating at first, but over time, I’ve been able to get to a point where it’s like this is what I want to do. Right now, I’m working on a big project, there’s a lot that I’m trying to say and tell in terms of African storytelling. 

You mentioned your work being inspired by African folklore and mythology. Where did that influence come from?

As a child, I was always fascinated by our stories and culture and how they interplay with who we are and how we relate with one another. So, I’ve just grown into it. For example, if I ask you who Thor is, there’s a mental image of him, but if I ask you who Sango is, it’s muddy. It’s the same with Amadioha and other African folk heroes. I’m trying to add to the visual vocabulary that allows people to visualise our culture. With the Owambe series, sculpting the Nigerian culture in marble is something that nobody has ever seen. The minute you see that, you can recognize that there’s something here. 

Transformation is a theme that is regularly referenced in your work. Is it deliberate, or is it just something that comes up?

I feel like, as a human being, as you grow up, you experience transformation. When you also get the chance to represent your community or something huge, you have to transform into something bigger, and that plays into my work. For my journey, I’ve had to transform into something stronger than who I normally am. I’ve become more focused, disciplined, and wiser than I was before. 

You recently turned 25. How does that feel with the knowledge of where you started from?

I’m just happy to be here.  It’s been a very crazy and long journey, so I’ve just been resting and preparing for the show. I’m just content with where life has been. 

What inspired The Stars I Followed Home?

It came from a need to showcase how I’m feeling artistically. I want people to see where all these influences have led me. I wanted people to be able to step into that, and at the heart of the exhibition is my new collection, Children of the Sun. It’s 25 new paintings, 25 editions, all priced at 25,000 naira. As an artist, I feel like if Nigerians don’t own my paintings then I’ve fucked up. 

What did working on The Stars I Followed Home show you about yourself?

Back in 2020, I used to be very militant. I would just wake up and be like, “This month, I want to write a book,” and I’d be able to see it through. I’d write 3,000 words every day, and if I failed on one day, I’d pass it on to the next day. I used to be very militant when I started drawing, too. I’d draw different studies to fix my art. It was a very disciplined approach, but over the years, my life got more complicated. There was family and salaries to think of, and I felt like I didn’t have that edge anymore. Working on The Stars I Followed Home made me realise that I still had that edge because I was working on many projects from January to April. By the time I locked in to work on this series, it was the last week of April, and I essentially had 10 days to pull off the paintings. It was insane, but I learned that I still had that edge and it hadn’t gone anywhere. It was really beautiful to bring forth beautiful work again. 

You reference Lagos a lot in your work. How central to your artistic vision is the city?

Lagos is in everything that I’ve done. I was born and raised in Lagos. It’s rough, dangerous, and it can be insane sometimes, but when you look at the people of Lagos, it amazes you. Despite the city’s madness, there are still people pushing, and that’s the resilience that I want to showcase. My parents are resilient, my siblings are resilient, and my friends are resilient. That strength is something that I always want to showcase in my work. 

What’s happening next for you?

We have a plan to release a drop of new prints. We are working on a sculpture show that I’m trying to push and that I’m excited about. 

Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.

Featuring previously released singles “Morning Sun” and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.

Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.

On “Marathon”, the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.

Get an exclusive first look at the video for Marathon here:

Listen to the Rigo Kamp EP:

In spite of stifling government policies and harsh economic realities, creators across West Africa remain dogged in pushing the envelope of culture, expanding and reimagining experiences for African youth, both locally and globally. Celebrating these creators who keep pushing the boundaries of culture is not only essential to acknowledging the present but also to forging a future that honors the innovation and rippling influence of culture changemakers.

The third installment of THE BLACKLIST, in collaboration with our friends at GUAP Magazine is an initiative set out to celebrate the remarkable individuals who are not only defining but actively transforming West African culture. By giving them their flowers in real time, THE BLACKLIST ensures these trailblazers receive the recognition they deserve, amplifying their contributions and inspiring the next generation of creatives and visionaries. This list underscores the importance of honoring culture-shapers while they’re making history, not just in retrospect.

This year, we highlight 15 of the most iconic voices propelling West African culture to new heights. From groundbreaking visual artists to visionary thinkers and creators, these individuals are crafting a legacy of empowerment, resilience, and innovation.

 

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ABIODUN

Abiodun Oladokun is a multifaceted individual, excelling as a crypto research analyst, lawyer, and DJ. He is the founder of ILÉ IJÓ, a monthly house music rave that operates under the brand name MELT. He has gained recognition in the vibrant Lagos and Ibadan rave scene. In just a short span, he has performed at top-tier raves and cultivated a loyal following for ILÉ IJÓ, with returning attendance growing from a few hundred to over a thousand.

Abiodun is not just a talented DJ but also a catalyst for change. With initiatives like ILÉ IJÓ’s ByUSB program, he provides a launchpad for emerging DJs and cultivates a thriving multi-state rave culture that captivates music lovers in Lagos and Ibadan. Beyond the local scene, Abiodun is a virtual resident DJ at Oroko Radio, a prominent Ghanaian music community platform. He also holds residencies at Redlightfashionroom, an elite community of EDM and House Music enthusiasts in Ibadan.

ANIKO

Aniko is a leading electronic music DJ and Founder of Group Therapy, an electronic music event and community in Nigeria which has quickly become a staple in Lagos’ underground nightlife, known for its high-energy parties and top-tier lineups. Known for her dynamic sets, blending afro house, deep house, techno, and progressive beats, her intricate layering, seamless transitions, and ability to connect with audiences have made her a standout figure in Nigeria’s dance music scene and beyond.

Aniko’s influence extends far beyond Nigeria, making waves across the globe with performances that are consistently hailed as some of the best in the space. Her contributions continue to shape the industry, inspiring both peers and fans alike with her dedication, talent, and passion for electronic music. Aniko’s talent has seen her performing prestigious stages and platforms across the world including HOR Berlin, Boiler Room, Homecoming, Nyege Nyege Festival, and many more.

ASHERKINE

Asherkine’s rise from a grassroots content creator to one of Nigeria’s most beloved figures in entertainment is a tale of vision, hustle, and an unmistakable knack for turning ordinary moments into captivating, unforgettable experiences. Originally finding his footing behind the camera, Asherkine first gained widespread attention when he directed the visuals for Asake’s breakout anthem, “Omo Ope.” But while “Omo Ope” thrust him into the spotlight, Asherkine quickly evolved beyond the role of a director, transforming himself into a one-man powerhouse of generosity and social impact.

In the years following his viral success, Asherkine has become something of a phenomenon, often compared to the American YouTube star, Mr Beast, for his seemingly boundless generosity. Whether handing out cash to struggling market vendors or supplying students with essentials, Asherkine redefines what it means to be a creator in Nigeria, bridging the gap between social media stardom and genuine community outreach. His giveaways aren’t simply about social media virality but are rooted in a deep-seated belief in uplifting his fellow citizens. Asherkine’s journey is a reminder of the evolving power of Nigeria’s creative scene — not just to entertain, but to impact lives directly, leaving an indelible mark on the communities that shaped him

AYANFE OLARINDE

Ayanfe Olarinde is redefining contemporary Nigerian art, carving out a space for herself in a scene she has thoroughly transformed with her layered, evocative creations. Known for her intricate scribbling technique and bold exploration of Nigeria’s social realities, Olarinde’s work has not only shaped the visual identity of a generation of artists but also elevated the
conversation around everyday Nigerian life. Self-taught and driven by a fierce commitment to documenting cultural truths, Olarinde blends mixed media, including ink, acrylics, and found objects, to construct textured pieces that speak to self-image, mental health, and identity formation. Her work often doubles as a critique of contemporary society, using imperfections and layered images to question the constructs of beauty, acceptance, and collective memory.

Olarinde’s accolades speak to her growing influence. She’s exhibited at landmark galleries like SMO Contemporary Arts and Rele Gallery, won the First Bank Magic 125 Creative Contest in 2019, and stood as the only Nigerian recognized at the AWIEF Prize for Creativity Award in South Africa in 2020. Her celebrated series “Dem Bobo,” a visually rich commentary on the ironies of urban life, has been featured by CNN, Vogue, and RADR Africa, reinforcing her reputation as one of Nigeria’s most gifted contemporary artists. Last year, Olarinde made waves as the artist behind the cover art for Asake’s celebrated Work of Art album, and she founded the fashion-forward streetwear brand, WWYD. Currently a mentee at The Nlele Institute and director of Unearthical, where she delves into fine art and fashion photography, Olarinde continues to stretch the boundaries of her medium, solidifying her place as one of the most compelling voices in Nigerian art today.

BRYAN IBEH

Bryan Ibeh (He/they) is a 22-year-old Nigerian-born and Lagos-based filmmaker and multidisciplinary creative working mainly as a director, photographer, producer, and editor. Currently in his final year at the University of Lagos, pursuing a Bachelor’s degree in Mass Communication, Ibeh has established himself as a talented filmmaker, photographer, producer, and creative director. His career as a creative began in 2018, experimenting with alternative-style short films, music videos, and images that showcased his unique visual perspective.

Ibeh’s portfolio includes notable collaborations with Lady Donli, Solis4evr, 808vic, Fave, Bloody Civilian, and others, as well as production credits for Adidas, MAC Cosmetics, DAZED, and SHOWstudio. He exhibited his experimental films at EXPO Lagos in 2021 and co-directed the experimental short fashion film “We Are Looking For Ourselves In Each Other,” which premiered exclusively on Nataal Media in 2022. His latest film, “Nowhere is Safe To Be,” a music film for contemporary artist Yinminu, tackles themes of trauma, bullying, and resilience, reflecting Bryan’s commitment to exploring complex social issues through innovative storytelling.

CHINASA ANUKAM

Chinasa Anukam is an award-winning writer, actor, stand-up comic, & digital content creator. Her first degree is in Law from the University of Bristol, UK. She has subsequently studied acting and improv comedy in the U.K & U.S. She has performed on global stages in cities ranging from New York and London to Abuja & Lagos.

She currently produces, directs and hosts the hit Youtube show, “Is this Seat Taken” which has been widely received and viewed in 120 countries with combined views of 8.5 million across 4 seasons. Additionally, ITST is currently airing on television in 42 countries via the Trace Africa TV network. Outside of work, Chinasa is passionate about travel, dancing, pounded yam, young Africans, women’s rights and telling stories. It is one of her deepest hopes that her career is a testimony of possibility to young Africans, young Nigerians, Nigerian women & black women, that we can take up space anywhere as long as we put in the work and believe.

EKOW BARNES

Ekow Barnes is a distinguished fashion writer, producer and creative strategist, with an impressive portfolio of clients across the continent and beyond. He specializes in fashion writing, creative production, and consultancy with several commissions in Ghana and England. Ekow has worked with brands such as Puma, New Balance, Mercedes-Benz, Emirates, Burberry, Spotify, Qatar Airways, Adidas, WSGN, Vogue, i-D , Ebony, GQ , Guardian and more.Ekow holds a degree in Mass Communication from BlueCrest University (Public Relations Major) in Accra, Ghana.

Ekow is the Co-Founder and serves as Chief Creative Officer of Will and Barnes Group; a creative production and talent management agency based in Accra, supporting creatives and sharing inspirational, thought-provoking narrative and audio-visual stories across the globe. Ekow is passionate about promoting emerging talents and showcasing their works to the world. He contributes to Vogue Italia, Guardian, and GQ South Africa as a writer on sustainable fashion stories with 30+ bylines in notable publications including (but not limited to) Glamour, Ebony, Essence, CNN.

ELSIE AHACHI

Elsie Ahachi, also known as “Elsie not Elise,” is a dedicated music enthusiast who’s turned her love for music and storytelling into a full-time passion. Starting out in 2022 with TikTok videos diving into the music she enjoyed, Elsie quickly built a following of people who resonate with her eye for talent and knack for finding artists who deserve more shine. Now, through her engaging
content and platform, Elsie spotlights emerging voices, creating a space where artists can share their work and stories without the usual industry pressures.

What began as sharing the music she loves has evolved into a multifaceted approach that includes artist interviews, documentaries, and storytelling that dives deeper into the creative processes of musicians. She’s also built a thriving community of music lovers across social media, connecting fans and artists over a shared passion for good music.

FEYIKEMI AKIN-BANKOLE

Feyikemi Akin-Bankole is a Business Management graduate from the University of Warwick and the co-host of F&S Uncensored, a leading Nigerian podcast that has transformed music discourse in the country. With over 200 episodes, F&S Uncensored has become an essential voice in Afrobeats, driving conversations that shape and amplify Nigerian and African pop culture. A lifelong
music enthusiast, Feyikemi has always been drawn to the Nigerian entertainment scene, particularly the vibrant Afrobeats landscape.

Upon returning to Lagos in 2019, Feyikemi began her career as an A&R at Aristokrat Records, later becoming Head of Music at Bounce Networks. She now brings her expertise to Spotify Sub-Saharan Africa as a PR & Communications Executive. In her role, she leads the VIP program for SSA and acts as a central liaison between Spotify and its creative agency, skillfully managing talent relations and campaign strategies. Feyikemi’s dedication to fostering talent in Africa’s music ecosystem makes her a crucial player in elevating African pop culture on the global stage. With her forward-looking vision and impact-driven approach, she is committed to empowering the next generation of artists and creators, championing African music and culture far beyond its borders.

JEMEDAFE CALEB UKOLI

At just 24, Caleb Jemedafe, known across Lagos as the “Party Boy of Lagos,” is transforming Africa’s creative scene with a vision that reaches far beyond parties. Starting from his university dorm room, Jemedafe has spent years championing young African talent, guiding emerging artists to global recognition and multi-million-dollar deals. His journey began with a knack for spotting potential, fueled by a Mechanical Engineering background from Landmark University that offered him dynamic knowledge to navigate the business landscape. At 18, he launched “Let’s Relate,” a groundbreaking festival that blended music and sports, drawing over 20,000 young Africans and capturing the attention of top brands like Hennessy, Ballantine’s, Coca-Cola, and TRACE and attracting performers like Rema. This early success led him to found KVLT, a multifaceted creative cloud and talent accelerator that has fueled the rise of talents such as Victony, Llona, Abstraktt, and DJ Six7even. KVLT isn’t just a company—it’s a thriving community of creative enthusiasts who together represent a new wave in African entertainment.

But his influence doesn’t stop there. Through his flagship event series, Even in the Day, Jemedafe is at the forefront of the reimagination of Africa’s party culture, producing 23 high-energy events across West and South Africa and attracting over 50,000 attendees. Featuring internationally renowned DJs like Tyler ICU and DJ Spinall, the series has become a platform for showcasing Africa’s best DJ talent, creating unforgettable experiences for thousands across various nationalities. Driven by a mission to build a global Afro-creative community, Jemedafe is not just rewriting Africa’s entertainment narrative—he’s building an inclusive, opportunity-filled world where young African creatives can thrive. His journey is a testament to vision, resilience, and the power of community.

LAYI WASABI

Layi Wasabi, whose real name is Isaac Ayomide Olayiwola, is a Nigerian comedian, actor, content creator, and lawyer who is best known for his unique style of comedy, often portraying a comical lawyer in his skits. Layi knew that comedy would be his vehicle to connect with audiences and share his unique perspective on life. Armed with a smartphone and a creative spark, Layi ventured into the world of skit-making, using social media as his stage and a canvas for his imaginative sketches.His infectious energy and relatable characters quickly caught the attention of viewers, propelling him into the spotlight of Nigeria’s vibrant comedy scene. His signature style—lively expressions, clever dialogues, and a knack for memorable quips—resonates with fans across generations, turning his social media platforms into a hub for laughter and joy.

Layi Wasabi is more than just a comedian; he’s a storyteller at heart, weaving narratives that reflect the complexities of life in Nigeria. Whether tackling societal issues or simply celebrating the quirks of daily living, he approaches each skit with authenticity and a keen sense of observation. As he continues to push boundaries and explore new creative avenues, Layi remains committed to his roots, reminding us all that laughter is not just entertainment—it’s a powerful tool for connection and understanding. With his sights set on even greater heights, the world truly is his oyster, and Layi is just getting started.

ORRY SHENJOBI

Orry Shenjobi is a British-Nigerian multidisciplinary artist and Creative Director of Studio ORRY, based in London. Her work crosses boundaries, merging techniques and materials to create immersive art that delves into identity, culture, and social narratives. Shenjobi’s dedication to sustainability plays a central role in her practice, with her studio maintaining a zero-waste policy and a strong commitment to upcycling, reflecting her belief in the transformative power of art as a vehicle for social change. In 2024, Shenjobi showcased her solo exhibition A Wà ńbè: A Celebration of Community and Culture at the Venice Biennale, as part of the “Foreigners Everywhere” series curated by Usen Esiet at the European Cultural Centre in Venice, Italy. This milestone affirmed her position as an artist focused on exploring the importance of community and cultural identity.

Shenjobi holds a degree in Product Design from the University of Leeds and an MA in Social Innovation and Sustainable Futures from UAL, blending creative practice with a deep sense of social responsibility. Her mixed media paintings and product design expertise form the foundation of her practice, while her personal background – born in London and raised in Lagos – brings a vibrant duality to her work. This cultural interplay heightens her sensitivity to diverse social experiences, which she translates into her art.In addition to her own work, Shenjobi is committed to artist development through her program, the Laho Initiative, which supports emerging artists in realizing their potential.

PITH AFRICA

Pith Africa founded in 2021 by Adedayo Laketu, Cosmas Ojemen and Nnaemeka Anazodo, began with a goal: to create a brand that resonates with the vibrant spirit of African youth, celebrating creativity and innovation through fashion, narratives and curated experiences that highlight a new age. Founded in Lagos, Nigeria, Pith Africa was born from a desire to reshape global perceptions of African fashion by creating a brand that tells authentic African stories through bold, expressive designs. From the outset, our mission has been clear: to build a brand that doesn’t just create fashion but fosters a cultural dialogue that resonates locally and globally.

At the heart of Pith Africa’s identity is a deep connection to our community. Our brand draws inspiration from the vibrant streets of Lagos—the energy, the pace, the culture. Pith Africa sees fashion as more than clothing; it’s a canvas for storytelling, a medium to amplify the voices, dreams, and experiences of a new age of Africans. Each collection is a celebration of diversity, innovation, and community, encapsulating the combined dreams of us all while challenging conventional narratives of African fashion and creativity. PITH Africa’s aim is to position African streetwear/fashion on the global stage, proving that our designs can compete with—and redefine—the standards of global fashion. Pith Africa is not just a brand; it’s a platform for celebrating African excellence, creativity, and resilience.

TOLU OYE

Tolu Oye is a visionary entrepreneur and creative force with a passion for celebrating Nigerian culture and heritage. She founded Meji Meji, a fashion brand inspired by a love for community and culture during the pandemic. Over the years, she has established Meji Meji as a platform to connect people through fashion, art, and storytelling. Known for innovative designs that blend nostalgia with modern aesthetics, Tolu has created collections like the Midnight Snack Collection, paying homage to Nigerian sweets and snacks, and “Sisi Ologe,” which reimagines classic hairstyles in extravagant, expressive ways to honour hair as an essential to our identity.

Meji Meji has become a beloved brand for its authenticity as Tolu’s vision and creativity never fails to invoke memories while committing to the preservation of the Nigerian identity across all her projects.

TUNDE ONAKOYA

Tunde Onakoya is a dreamer, social reformer, and Nigerian National Chess master. In 2018, he founded Chess in Slums Africa, a non-profit organization that uses the game of chess as a framework to give children in impoverished communities access to education, technology, and mentorship.The impact of this initiative has reached far beyond the borders of Nigeria, with stories of transformation featured on global media platforms like BBC, Al-Jazeera, and Deutsche Welle. Over 10,000 children’s lives have been touched, with 500 receiving fully funded scholarships to local and international institutions.

Tunde Onakoya actively engages in games of chess with fellow thought leaders, fostering connections that have the potential to amplify the impact of Chess in Slums Africa globally. His ability to articulate the mission and vision of his organization constantly garners attention and admiration, reinforcing the organization’s commitment to making chess an agent of change. Onakoya’s efforts have earned him numerous accolades, including The Future Awards Africa Prize for Community Action in 2021, the Business Insider Award for Social Entrepreneur of the Year in 2022, the JCI Ten Outstanding Young Persons of Nigeria Award for Contribution to Children, World Peace, and/or Human Rights in 2022, the Trendupp Award for Force of Social Good in 2022, Leadership newspaper Humanitarian of the year and the Royal African Award in 2022. Tunde Onakoya continues to be a beacon of inspiration, not just within the realm of chess but in the broader context of using strategic thinking to shape a better world for all.