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Ayakoromo Bridge and False Hopes

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Ayakoromo Bridge protest

By Jerome-Mario Chijioke Utomi

It is no longer news that the Delta State Government recently addressed the media on the multi-billion naira contract for the construction of the Ayakoromo Bridge in the Burutu Local Government Area of the state, stating that it has cancelled the contract for the bridge due to poor performance by the contractor.

At first glance, the latest action for me depicts Delta State government as an administration that is internally directed, people-focused, externally open and above all, a right step taken in the right direction, particularly as such action is long overdue.

However, as an author that has in the past supported and will continue to support good intentions coming from the present administration in the state, particularly when such actions are directed towards uplifting the life chances of the people, the truth must be told to the effect that in the present circumstance, the newest action by the state government only confirm as true the words of Winston Churchill, a onetime Prime Minister of Great Britain, that ‘there is no worse mistake in public leadership than to hold out false hopes soon to be swept away.

For a very long time, the state government has given false hopes to the people of the Ayakromo community and Deltans as a whole about the true condition of the bridge.

Governor Ifeanyi Okowa persistently failed to reveal the true bill of the contractor’s technical health/know-how even when it was glaringly obvious to Deltans with critical minds that the contractor was technically-challenged. Most brazenly, Okowa’s administration failed to remember that, as a general rule, the first step to solving a problem is to admit that one exists. But instead of going by this rule, the state government told Deltans that the bridge was 60% near completion, even when the Key Performance Indicators (KPIs) pointed otherwise.

Take, for instance, when the administration learnt in January 2020 that the Ijaw Peoples Development Initiative and Ayakoromo youths planned a protest against the ‘abandonment’ of the bridge, the Okowa-led administration, through the Commissioner for Information, Charles Aniagwu, in a statement in Asaba, stated that the state leadership was committed to the completion of road projects it has embarked on.

He added that the Ayakoromo bridge project had not been abandoned and urged the groups to shun their planned protest. The statement also noted that the state government had already made provisions for the completion of the bridge in the 2020 budget and was desirous to complete the project.

Again, six months after that statement, precisely in June 2020, the Delta State Government, in a similar style, assured that the Ayakoromo Bridge would be vigorously executed as a top priority project. This time around, the Commissioner for Works, Chief James Aguoye, made the disclosure in Ayakoromo while speaking to newsmen.

Aguoye, according to media reports, said that the project had a budgetary provision of N1 billion in the 2020 budget. The Commissioner added that the project would be up-scaled in 2021.

In January 2022, after the first executive council meeting, which was presided over by Governor Okowa, the Commissioner for Information, Mr Charles Aniagwu, announced that the Delta State government has recently approved an upward review of the contract cost of the Ayakoromo Bridge project from N6 billion to N10.5 billion, noting that the review was necessary as a result of present economic realities in the country.

Even government supporters were not left out in the now-ended season of lies and blind support.

For instance, when I did a piece titled Ayakromo Bridge, One Abandonment too many, the referenced piece, among other concerns, expressed/underlined the urgency of having the contractor sacked. And in his place, have a new contractor appointed backed with adequate funds, superior technical skills and experience to replace the current contractor, who obviously lacks the wherewithal to complete the bridge.

The reactions that trailed this objective submission by the piece could be seen better than imagined.

Some commentators argued that even in a democracy, the government is at liberty to take or discard advice and public opinion in the interest of the greater good for the greater number.

Public opinion, in their view, does not always provide clear-cut policy guidance, and even when it is clearly in favour of a certain course of government action, the authorities may decide otherwise-particularly when they realize how uninformed, superficial, and changeable most opinions really are. To others, the government may also reject people’s opinions as a result of its convictions, the recommendations of the public service, or the pressure of advocacy groups

To the rest, whenever the government fails to follow a clear-cut preference among the public opinion, they may actually be relying on a deeper understanding of the issue, the greater information at their disposal, a more sophisticated analysis of its implications, a concern for minority groups’ rights, or a less prejudicial attitude.

Now that the season of denial and argument has ended, the question that is as important as the piece itself is; what is the fate of Ayakromo Bridge? Will it still be completed by the present administration, or has to be handed to the incoming administration? Would it be considered a good commentary that the Governor inherited from his predecessor a bridge under construction that is far less than one kilometre yet could not complete in eight years?

While answers to the above questions are being anticipated, I must quickly add that the underlying objective of this piece is not to chastise any individual or group but to draw the attention of the Okowa-led government to this mess in ways that will assist him in performing the traditional but universal responsibility of provision of economic and infrastructural succour to the citizenry, which the instrumentality of participatory democracy and election of leaders confers on him.

The government must give the desired new lease of life and satisfactory service/governance to the community’s people. Above all, the state government must design more creative and development-focused ways to serve and save Deltans holistically.

Finally, as noted in my previous intervention on this topic, the state government must not fail to remember that the Bobougbene community and its environs in Burutu LGA are reputed for producing palm oil in commercial quantity and supply of same to Warri metropolis and Okwumagbe markets in Ughelli-South LGA. The bridge, when completed, will provide easy access to these markets.  This is a very important reason why the state must pay disciplined attention to that project. It must not, for any reason, be abandoned.

Jerome-Mario Chijioke Utomi of Social and Economic Justice Advocacy writes from Lagos; 08032725374

Dipo Olowookere is a journalist based in Nigeria that has passion for reporting business news stories. At his leisure time, he watches football and supports 3SC of Ibadan. Mr Olowookere can be reached via [email protected]

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Leading on the Road and Across Cultural Lines: Tips for Success

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Isoken Aigbomian Tips for Success

By Isoken Aigbomian

I’ve been asked in the past about the most demanding challenges I’ve faced in my career, and I say one of them is transitioning from implementation leadership to strategy leadership. As a fantastic salesperson, there is a good chance you will never leave ‘sales mode’.  You will always find yourself trying to create connections you can leverage later at every event or process. When you take up a more strategic role, you are less on the field and more in the drawing room, building frameworks that will be communicated to your team for implementation.

In Nigeria’s fast-evolving sales landscape, managing teams across multiple states and regions gives me a fantastic opportunity to challenge myself and grow. As the Regional Manager overseeing sales teams in the various areas, I have had to develop strategies that ensure seamless operations, meet sales targets, and drive consistent performance. In this article, I’ll share the key strategies that have helped me excel in managing sales teams across Nigeria’s diverse regions.

1. Build Trust Through Transparent Communication

Effective communication is at the heart of any successful sales team. Given the geographical spread of my team, it was crucial to establish a culture of open and transparent communication. Regular virtual meetings, calls, and on-site visits allow me to ensure alignment across all teams, discuss ongoing sales opportunities, share best practices, and address any concerns promptly. Clear communication has helped me maintain a unified approach towards achieving regional and organisational sales goals. My go-to communication style is the ‘feedback communication’ style: this way, I am assured that my audience understands the information I have passed and can communicate it to their direct reports without losing anything.

2. Understand Regional Diversity and Build Strategies That Fit into the Market Nuances

The level of diversity in a country like Nigeria is incredible. Each region in Nigeria has distinct market conditions, customer preferences, and even business practices (formal and informal). Understanding these nuances has been key to tailoring my sales strategies. For example, consumer behavior in Lagos may differ significantly from Kano or Port Harcourt, so being attuned to regional trends allows me to customize the sales approach and messaging for each area. By fostering a deep understanding of local markets, I can guide my team to more effective sales tactics that resonate with our target customers. I know that in the East, on Mondays, economic activities are slower than in other regions, while in Kano, on Fridays, economic activities are slower. This knowledge helps me create better strategies that will yield the best results.

3. Build a Cohesive Team and Empower Local Sales Leaders

Effective delegation and empowerment are essential in managing a large sales team across multiple regions. One thing I focus on is identifying strong local leaders within each region who understand the unique challenges and opportunities of their area. When hiring sales managers, this is an important skill and expectation for me because you will work closely with me to ensure the implementation of the processes. By empowering them to take ownership of their respective regions, I foster leadership skills and ensure that decisions are made with the regional context in mind. This boosts accountability and enhances sales outcomes.

4. Leverage Technology to Drive Sales and Collaboration

It’s 2025, and salespeople no longer use a Rolodex because the digital age has given us fantastic technology to create, build and manage relationships. I rely on CRM systems, project management tools, and sales dashboards to ensure that performance is consistently tracked, goals are monitored, and key data points are easily accessible. These tools enable seamless collaboration between regions and ensure that all sales teams have the resources and support they need to succeed. I also ensure that my team gets training at different levels to keep the team positively engaged and up-to-date with the latest product offerings and sales techniques.

5. Lead by Example and Drive Results

As a Sales Regional Manager, it’s important to me that I lead from the front. I prioritise actively participating in key sales meetings, setting high standards, and driving sales performance myself. By leading by example—meeting sales targets, demonstrating product knowledge, or resolving customer concerns—I inspire my team to perform at their best consistently. This has helped create a culture of accountability and high performance within the team. While setting budgets for my team, I also set budgets for myself and reinforce the culture of self-accountability, grit and technical depth.

Managing multiple teams across different regions comes with its own set of unique challenges, but by focusing on clear communication, understanding regional market dynamics, empowering local leadership, leveraging technology, and leading by example, I have been able to drive consistent success. Ultimately, sales leadership is about aligning regional efforts with broader organizational goals, and with the right strategies in place, any sales leader can excel in this dynamic role.

Isoken Aigbomian is a Regional Sales Manager, Enterprise Network Sales Division at Moniepoint Inc

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The Legal Illusion of Ownership: Why AI-Generated Content Cannot Be Protected by Copyright Law

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AI-Generated Content Somadina Eugene-Okorie

By Somadina Eugene-Okorie Esq

In the rapidly evolving intersection between technology and creativity, one fundamental misunderstanding is becoming dangerously widespread, and it is the belief that a person can claim legal copyright ownership over content, be it music, movies, articles, or any other expressive work generated through artificial intelligence.

This notion not only misrepresents the intent and scope of copyright law but also opens the floodgates to legal liability, particularly for copyright infringement and misappropriation.The question is deceptively simple: Can one claim copyright over a body of work generated using artificial intelligence?

Now, as a patent and copyright law expert, the unequivocal legal and philosophical answer is no.

This article therefore undertakes a detailed examination of above subject, and is grounded in statutory interpretation, international legal developments, and a proper understanding of how AI functions.

  1. Copyright: A Protection of Original Human Expression

At the heart of copyright law lies a central tenet which is originality. The legal doctrine is not concerned with mere novelty or surface-level uniqueness; rather, it seeks to protect expressions that are the product of human intellect and effort. It is this personal investment of creative labour that qualifies a work for copyright protection.

Under Section 2 of the Nigerian Copyright Act, 2022, only works that satisfy specific conditions are eligible for copyright. These include literary works, musical compositions, artistic works, audiovisual works, sound recordings, and broadcasts.

However, Section 2(2) makes it explicitly clear that two essential requirements must be fulfilled:

  1. Original character: In this context some effort must have been exerted in making the work to give it original quality;
  2. Fixation: The work must be reduced into a tangible or perceptible medium from which it can be reproduced or communicated.

In the absence of these twin criteria, a musical or artistic work, regardless of its aesthetic appeal, cannot be deemed copyrightable under Nigerian law.

  1. AI and the Illusion of Originality

Artificial intelligence, particularly generative AI, operates by ingesting vast amounts of existing data ranging from text, music, images, video, and code which are scraped from the internet and other digital repositories. It identifies linguistic, auditory, or visual patterns, then recombines them into content that appears novel. But appearance is not substance in law.

The machine does not create; rather it derives. It does not originate; it rather synthesizes.

And those notes, the implications are significant. Because the output of AI models is fundamentally non-original, being algorithmically assembled from pre-existing human work.Hence, such content fails to meet the originality standard of copyright law. Moreover, because these models depend on training data that often includes copyrighted materials, without obtaining licenses or permissions, AI-generated content are therefore not just unoriginal, but potentially infringing.

Thus, any person claiming authorship over such works is not just misunderstanding the law; they are possibly implicating themselves in intellectual property theft an act that is punishable before the law.

III. Artificial Works vs Copyrighted Works: A Fundamental Legal Divide

There is a legal wall of separation between copyrighted works and what we now call “artificial works.”

Copyrighted works:

  • Are authored by humans.
  • Bear the imprint of original thought.
  • Reflect creative choices in expression, form, and structure.
  • Can be clearly attributed to a person or group with identifiable intent.

Artificial works, by contrast:

  • Are generated via algorithms based on patterns in pre-existing data.
  • Lack personal creative input.
  • Cannot be said to originate from any identifiable human author.
  • Are inherently derivative and frequently simulate the work of real artists.

This dichotomy is not just theoretical; it is embedded in legal systems globally, including Nigeria, the United States, and the European Union.

  1. A Precedence: Michael Smith and the First AI-Generated Music Fraud Prosecution

In a landmark case that underscores the danger of conflating AI output with original work, a North Carolina man Michael Smith was indicted in September 2024 by US federal prosecutors. According to the prosecution, Smith allegedly used artificial intelligence to generate “hundreds of thousands” of songs, which he then streamed via automated bots to fraudulently collect the sum of over $10 million in royalties since 2017.

This is according to the indictment unsealed by Damian Williams, a U.S. Attorney for the Southern District of New York, and the FBI, which marked the first ever criminal case for AI-assisted streaming fraud. But more critically, Smith’s real offense according to the prosecution, wasn’t simply streaming artificial music, it was copyright fraud and infringement. Prosecutors argued that the AI-generated songs unlawfully utilized material derived from copyrighted content of existing artists, thus constituting theft under intellectual property law.

This case sets a precedent that is likely to reverberate globally. It sends a clear message that using AI to generate content that mimics or remixes copyrighted work is not innovation, rather it is infringement.

  1. Nigeria’s Emerging AI-Creative Landscape: A Legal Vacuum with Consequences

Nigeria is not immune to the allure of AI. From AI-generated Afrobeats album released in 2023 to synthetic voiceovers in Nollywood scripts, to recent AI-generated movies, creators are increasingly inviting machines into the creative process. However, more disturbing is the fact that Nigeria currently lacks a detailed legal framework on AI-generated works, creating a dangerous grey zone.

But this legal lacuna does not render creators immune. As explained earlier, Nigeria’s Copyright Act 2022 is more than sufficient to prosecute individuals who lay copyright claims to AI-generated works. If it can be shown that such works were copied from existing copyrighted materials, liability attaches immediately, even if the copying was done by an AI tool.

Thus, artists, producers, and studios experimenting with AI must understand thatthe lack of express AI regulation is not a license to infringe. You may not be the original infringer, but by adopting and publishing the work as your own, you assume responsibility for any infringement therein.

  1. Copyright is Not Registration, it is Originality

Many erroneously believe that securing copyright registration grants ownership. However, copyright does not arise from registration. It arises from human original creation. To this end, registration is merely evidentiary, used to assert and protect rights already earned.

Consequently, registering an AI-generated song with a collecting society or copyright body does not legalize the ownership. It only creates a false veneer of legitimacy, which can easily collapse under scrutiny in law.

As such, even if an AI-assisted song is “registered” and earns revenue through streaming platforms or publishers, the artist remains vulnerable to lawsuits or criminal charges once original creators can identify traces of their work in the AI output.

In Conclusion: Human Creativity Cannot Be Automated, And Neither Can Its Protections

The conversation about AI and intellectual property must not be driven by novelty or convenience, but by the legal and moral foundations of creativity. Copyright exists to encourage the labor of the mind and the spirit. It cannot be claimed over soulless patterns, no matter how harmonious they may sound.

Artists, content creators, and developers must therefore tread carefully. Embracing AI is not inherently wrong, but claiming authorship or ownership over what is essentially a machine-generated remix of human labour is not only a misreading of copyright law, it is an invitation to litigation, financial loss, and public scandal.

In the end, the law is clear: You cannot own what you did not originally create.

NB: This article is for educational and information purposes only and does not constitute legal advice. For individual cases, consult a licensed intellectual property attorney.

Somadina Eugene-Okorie Esq, an Advocate, Intellectual Property/Business Solicitor, writes from Lekki, Lagos Nigeria

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Ilorin Durbar 2025: A Living Proof of Unity in Diversity

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Ilorin Durbar 2025

By  Yahaya Yahaya

The 2025 Ilorin Emirate Durbar, held on the third day of Eid al-Adha (June 9, 2025), was more than just a spectacle of horses, culture, and colour. It was a public reaffirmation of who Ilorin is — a city of layered identities, rooted in faith, and grounded in the unshakable unity of its people.

This year’s theme, Unity in Diversity, wasn’t just a slogan. It reflected a living reality — that Ilorin is, and has always been, a city where different cultures, languages, and histories are not just tolerated, but embraced and interwoven. From the palace to the old city interiors, from the processions to the pavilions, the Durbar reminded everyone that Ilorin is a place where Yoruba, Fulani, Baruba, Nupe, Hausa, Kanuri and other communities have lived as one for generations — not in theory, but in practice.

The story of Ilorin stretches back over 200 years, and its evolution into an Emirate is one of the most remarkable examples of how faith and diversity can shape governance and culture. As a frontier city that blended Islamic scholarship with existing traditions, Ilorin grew into a unique urban centre — one that values its religious leadership while still preserving local customs and language.

The early 19th century saw Ilorin become a prominent Islamic Emirate under the spiritual influence of Shehu Alimi, whose legacy still shapes the moral and religious identity of the city today. But what made Ilorin distinct was its ability to absorb and unify — Nupe scholars, Baruba warriors, Kanuri settlers, Hausa traders, and indigenous families all found space within Ilorin’s expanding civic and spiritual structure. That inclusive spirit is not symbolic — it is practical. It is how the city was formed and how it has endured.

That unity has been tested. The battles of Ita Kudimo and Ita Ogunbo remain a key part of Ilorin’s collective memory — episodes where the city had to defend itself from the combined forces of the old Oyo empire and Baruba’s to the North. One of the most striking historical accounts describes an attack launched during Eid prayers — a moment when the city was supposed to be at rest. But Ilorin’s defenders rallied, repelled the invasion, and reasserted their control. These were not just military victories. They became defining moments in the city’s identity — a declaration that Ilorin will always stand together when it matters most.

Durbar, today, is not a re-enactment of those events — but it is a reminder. It reminds us that the unity we celebrate was built through sacrifice, discipline, and shared purpose. And every year, when the Emir emerges from the palace and proceeds through the old city, it is more than a ceremonial ride — it is a public recommitment to the bond between the throne and the people.

This year’s Durbar retained that sacred character. The Emir was led through streets not protected by military convoys, police barricades, or armed escorts — but by his traditional guards, holding only whips. There were no sirens. No armoured vehicles. Because in Ilorin, the people are the protection. The Emir doesn’t need to be shielded from his people — he is shielded by them. That’s not a gesture; it’s a relationship built over centuries.

Another defining feature of this year’s Durbar was the emergence of aso-ebi as a tool for community organisation. Uniform fabrics — chosen by families, streets, associations, or entire districts — were not just a fashion statement. They were a social framework. Planning for aso-ebi required weeks of conversation, coordination, and contribution. In the process, families abroad reconnected with those at home, groups met regularly, tailors got to work, and the community got busy. The result? The city didn’t just look united. It was united.

Durbar 2025 also showcased the impact of youth participation. Young people led media coverage, coordinated logistics, and documented the festival with fresh energy and modern storytelling. The festival was livestreamed and shared globally in real time, with clips and commentary flooding social media from Oja-Oba to London. Ilorin showed that it could hold on to its traditions without closing the door to innovation.

Through all of this, one thing remains true: Ilorin works not because it has one culture, but because it honours all of them. It is held together not by uniformity, but by a shared sense of meaning. While many other societies struggle with managing diversity, Ilorin simply lives it — through prayer, through leadership, and through moments like the Ilorin Durbar.

The 2025 edition was not without its logistical challenges — a festival of this scale always has some. But what it had in abundance was purpose, pride, and peace. And in a country still searching for models of cohesion, Ilorin has quietly offered one, year after year.

As the sun set over the city and the Emir returned to the palace, there was a quiet sense of satisfaction across the emirate. Another Durbar, successfully delivered. Another message, clearly sent. And the people — from Sabo Oke to Gambari, from Okelele to Pakata — all knew: this is ours.

Ilorin Durbar 2026 is already in sight. And if the story remains the same — of unity, order, and belonging — then the next chapter will be even stronger.

And in Ilorin, we don’t just look forward to it. We begin preparing now.

Yahaya Yahaya (Magayaki of Uke, Nasarawa State) writes from Ilorin

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