A mathematics educator and mathematics education doctoral student at Purdue University, United States of America, Humphrey Ochulor, tells FAITH AJAYI about his passion for mathematics and his recent invention that helps students solve algebra with ease can you take us back to your early years—what sparked your interest in mathematics and education, especially right after secondary school? Growing up, Mathematics wasn’t my best subject. In fact, I preferred Chemistry. However, after secondary school, I enrolled in a GCE and JAMB preparatory programme at South Land Science School, Aba, Abia State, where I was taught Mathematics and other science subjects by the school’s proprietor, Mr Holyver Ekeke. I spent a few months there, and my interest in mathematics evolved as I observed how effortlessly he taught the subject. Inspired by his teaching style, I started paying close attention. I remember a particular day after a lesson on solving quadratic equations using the completing-the-square method. I approached him privately to teach me again. I listened intently, though I didn’t grasp everything at once. When I got home, I dropped my bag and immediately began working through the problem—and finally got it right, just by following the simple steps he had demonstrated. That moment ignited my love for mathematics. I began arriving early at the centre just so I could help teach fellow students before lessons began. With this growing knowledge and passion, I started teaching mathematics in private secondary schools and informal settings, encouraging students not to fear the subject but see it as something they could master. Why did you choose Mathematics Education as your course of study, and how did your time at Alvan Ikoku and Enugu State University shape your teaching philosophy? Before I started my National Certificate in Education at what is now Alvan Ikoku Federal University of Education in Owerri, Imo State, I had registered for JAMB to study Biochemistry at the university level. However, due to unforeseen circumstances, I couldn’t sit for the exam. Having already developed a deep interest in mathematics through my teaching experiences, I decided to pursue formal training to improve my competence. I was admitted to study Mathematics and Computer Science at Alvan Ikoku. Later, I continued to Enugu State University of Science and Technology for further studies. Through both institutions, I developed key teaching skills, including lesson planning, curriculum design, use of instructional materials, classroom management, and problem-solving techniques. These experiences helped me refine my teaching philosophy. I began to see mathematics not just as a subject, but as a lifelong calling. Having taught at various levels— from secondary schools to tertiary institutions—what patterns have you noticed in how students interact with algebra? From secondary schools to tertiary institutions, and even during the COVID-19 era when my wife and I launched an online platform to teach Mathematics and English, I observed a clear pattern: students find arithmetic more relatable because it mirrors everyday tasks. But algebra, with its use of letters and symbols, often feels abstract and intimidating. Many students suffer from what I call “math phobia,” particularly when introduced to algebra. Even though I employed techniques such as play-way methods, problem-solving strategies, and inductive teaching (from simple to complex), students still struggled to maintain interest in algebraic concepts. Tell us how the idea for the analogue algebra games came to you. The idea came during my Master’s degree in Mathematics Education at Enugu State University of Science and Technology. I conducted a curriculum review for my first research project and discovered that the way algebra is taught does not encourage hands-on learning. This gap leads to disinterest and poor performance. This concern is supported by Prof Stephen Onah, former Director of Nigeria’s National Mathematical Centre, who lamented in 2018 that only 17 per cent of students passed Mathematics and English in WAEC. His call for urgent action mirrored what I saw in my students. Motivated to find a solution, I delved into publications by the Mathematical Association of Nigeria and the National Mathematical Centre. Many of them recommended the use of games to enhance student engagement. Inspired by that, I began designing four algebra games aimed at helping students learn algebra more enjoyably and effectively. How did you conceptualise and design each of the four games? The Four Algebraic Games were designed specifically to motivate students to solve problems in four major aspects of algebraic expressions: expansion of algebraic expressions of the form a(b+c), expansion of expressions of the form (a+b)(c+d), factorisation of algebraic expressions, and simplification of algebraic expressions. For the expansion of algebraic expressions of the form a(b+c), I designed the Algebra Evaluation Dart Game. To expand algebraic expressions of the form (a+b)(c+d), I designed the Algebra Tic-tacmatics Game; and to teach factorisation of algebraic expressions, I designed the Algebra Factorisation Card Game. To simplify algebraic expressions, I designed the Algebra Simplification Card Game. What were the biggest challenges in developing these games? The first hurdle was figuring out which game structure suited which type of algebra problem. Once I overcame that, the next challenge was technical—accurately measuring dart zones, play areas, and tokens, and ensuring every problem had a valid solution. Initial testing also presented difficulties. The first group of students found the games challenging. But as they played more, they became more comfortable and more enthusiastic. Were there times you doubted the idea or felt like giving up? Yes, there were moments of frustration; especially during the shaping and measuring of boards and materials. But, I’ve always believed that nothing good comes easy. I saw every stumbling block as a stepping stone and kept pushing forward. How does the Algebra Evaluation Dart Game work? It is designed for expanding expressions of the form a(b + c). Two to four students take turns throwing a pointer at a dartboard containing such expressions. They must correctly expand the expression they hit. The judge tracks scores. The student with the highest score wins. How does the Algebra Factorisation Card Game help students master one of algebra’s toughest topics? It turns factorisation into a fun, competitive experience. Players race to correctly factorise polynomial expressions. The first to complete five correct answers in a row—horizontally, vertically, or diagonally—wins. It encourages fast thinking and improves recall. Which of the four games has the most surprising impact on students? While all four boosted engagement, the Tic-Tacmatics Game has the most striking effect. Students typically find quadratic expansions hard, but this game makes them excited to engage with it. The same way the completing-the-square method once frustrated and later fascinated me, this game has become a turning point for many students. Do you plan to distribute or commercialise the games nationwide or in Africa? I didn’t initially plan to sell them, but after seeing how effective they are, especially in bridging gender gaps in mathematics, I want them adopted widely. Some schools have already used them, and I’ve published an article on their impact. My goal is to see these tools in as many classrooms as possible. How do you plan to integrate these games into mainstream teaching? Based on data I gathered through Algebra Achievement and Retention Tests and Interest Scales, I’ve recommended these games in my MSc thesis and published work. I encourage schools to adopt them as teaching aids. I am also exploring partnerships to train teachers on implementation. In under-resourced communities, how can analogue games like yours compete with digital edtech solutions? Many students and teachers in such areas are already familiar with board and card games but lack access to digital tools. These analogue games are cost-effective, accessible, and culturally relevant, making them excellent tools for bridging learning gaps. How has your journey from teaching in Nigeria to studying at Purdue University shaped your worldview? My time at Purdue has helped me appreciate culturally responsive teaching and design-based learning. Here, we connect mathematics to real-world issues, making education more practical and meaningful. I have embraced STEM integration and AI applications in math education, building on my work with traditional methods in Nigeria. Now, I see myself as part of a global solution. I’m not just preparing to teach; I’m preparing to influence policy, practice, and innovation worldwide. When you’re not working on research or designing games, how do you unwind? I believe in balance. I spend time with my wife and children, who are my greatest emotional support. I also find spiritual renewal in church and enjoy fellowshipping with others. As a Dean’s Doctoral Fellow, Research Assistant, and PhD student, free time is rare. But I do make room for cultural experiences like hiking, skating, and kayaking with course mates and faculty. I also explore AI tools and social media to fuel my creativity and stay current.

The Director of Intra-African Trade and Export Development (Creatives and Diaspora) at the African Export-Import Bank, Temwa Gondwe, speaks with ARINZE NWAFOR on how Africa’s creative economy is rapidly evolving into a key driver of economic transformation, capable of matching, or even surpassing, the contribution of oil and gas. He also outlines how Afreximbank addresses the sector’s core challenges, from financing and IP protection to market access and diaspora engagement. How well-positioned is the creative industry to grow Nigeria and Africa’s GDP? The creative sector is essential to Africa’s next phase of economic growth. At Afreximbank, we recognise this through the Creative Africa Nexus (CANEX), our flagship programme supporting the growth of Africa and the Caribbean’s (or what we call “Global Africa’s”) creative industries. We’ve seen the economic impact of sectors like music, fashion, film, digital content, and sports. They’re youth-driven, labour-intensive and innovation-led, exactly the kind of industries needed to drive inclusive, sustainable development. Take Nigeria, for example: Nollywood is the second-largest film industry globally by volume and employs over a million people. Afrobeats is now a global sound, generating revenue through streaming, live events, brand deals, and licensing. Lagos-based designers are gaining visibility on the runways of Paris and New York. These are not outliers; they’re evidence of a broader systemic shift. To fully unlock this potential, we need investment, infrastructure, intellectual property (IP) protection, and strong distribution channels. That’s why Afreximbank launched CANEX, to provide financing, build capacity, and facilitate market access. With the right support, we believe Africa’s creative economy can rival oil and gas in both GDP contribution and global influence. How do you describe the creative sector in Africa? It is one of Africa’s most dynamic and future-facing sectors, with far-reaching economic implications. Projections suggest that by 2040, Africa’s creative and cultural industries could generate over $20bn annually and create more than 20 million jobs. Many of these jobs are digital, informal, and youth-led—offering a real solution to Africa’s unemployment and demographic challenges. But beyond economics, the sector helps define Africa’s identity globally. It shapes perceptions and enhances our soft power key assets for attracting investment and trade. How so? Absolutely. Consider how the world came to know Levi’s jeans or cowboy boots through Hollywood. Culture shapes global tastes, aspirations, and demand, paving the way for trade. In that sense, creative content sells the story, and the real-sector goods and services follow. At CANEX, we describe the creative economy as Africa’s “invisible gold”, a rich but underleveraged resource that’s now on the rise. Africa’s creative sector is vibrant, resilient, and becoming increasingly formalised, especially with the right policies and the growing participation of financial players in the ecosystem. What makes a market is not just financing. There must be players who facilitate the marketplace to build that ecosystem support. At Afreximbank, we think Africa’s creative industries will not just entertain the world but will also help transform Africa and the whole world. Afreximbank recently launched the $1bn Africa Film Fund. What’s the latest on this fund, and have there been other investments in Nigeria and beyond? Afreximbank has long recognised the creative sector as a powerful economic driver. We champion this through our CANEX programme, which is built on six key pillars: financing, capacity building, applications and partnerships, digitisation, policy advocacy, and export development and investment promotion. In terms of financing, we’ve established a $2bn facility to provide credit and also launched CANEX Creations Incorporated, an intellectual property investment vehicle that helps creatives commercialise their work through licensing, royalty structures, and more; and we are on the way to operationalizing the Africa Film Fund. Our goal is to drive collaboration between Africa and the diaspora, what we call ‘Global Africa’. This helps us take greater ownership of our content, address distribution challenges, and ultimately grow the sector by owning our stories and narratives. Why does royalty structure appear to be a major concern for creators in Africa’s creative industry? Many global platforms operating in Africa, such as TikTok, YouTube, and others, offer significantly lower payouts to African artists than they do in Western markets. This discrepancy is a major concern across the creative sector, especially when considering the commercial potential of African intellectual property. Why is there a disparity in pay? Several factors contribute to the gap. For one, platform algorithms are not optimised to favour African content, and advertising revenues generated from the continent tend to be much lower than in the US or Europe. These structural issues limit how much artists can earn, even when their content is widely consumed. Ultimately, we need an Africa-first approach to commercialising talent. As long as we depend on external platforms, our creators will remain underpaid. We may need to build new distribution systems, from scratch, tailored to local realities and scalable to a population of over one billion. We also need to rethink consumption models. Western-style subscriptions, monthly or annual, do not always align with Africa’s economic realities, where many people operate on a daily income. Any sustainable platform must reflect this reality. While it’s important to push for fairer terms on global platforms, the long-term solution lies in building systems that work for us by us. What role does the African diaspora play in building this economy? At Afreximbank, intra-African trade is defined not just as commerce between African countries but also among Africans in the diaspora, wherever they may be. Much of what is exported from Africa is driven by demand from Africans abroad, whether in the US, the UK, Brazil, or the Caribbean. So, intra-African trade must go beyond geography and include the broader African identity. We must also pay close attention to the mindset of Global Africa. In today’s increasingly multipolar world, communities are reconnecting with their cultural heritage as a pathway to economic opportunity. Africans, wherever we live, must similarly look to our roots for trade and investment potential. There is no reason Africa shouldn’t be trading extensively with the Caribbean, for example. We share a common history, similar cultural practices, cuisines, music, and even fashion. Brazil is another prime example; it is, demographically speaking, the second-largest African country after Nigeria. These cultural and historical ties should form the basis of structured economic relationships. How do we structure the African diaspora? What we currently see is a significant flow of funds from the diaspora into Africa, largely in the form of remittances used for essential needs like school fees or home repairs. However, this financial flow lacks a structured framework that channels it into Africa’s broader industrialisation and development agenda. Afreximbank is addressing this gap by working closely with diaspora communities and partner countries to explore instruments such as diaspora bonds. We are also facilitating both cultural and professional exchange, while directing diaspora investment into high-potential African portfolio companies—ensuring that these flows contribute meaningfully to sustainable economic transformation. Has the African diaspora reached out to partner with Afreximbank’s creative efforts? Absolutely. We have established the Global Africa Gateway at the Africa Centre in New York, which is our dedicated outpost to engage directly with the diaspora in the United States. Additionally, we now have 13 Caribbean countries that have joined Afreximbank as participating member states and are actively accessing our facilities. Beyond financing, we are focused on building lasting bridges, culturally, economically, and professionally, between Africa and its diaspora, especially across the Caribbean. What challenges have you faced in breaking through in the creative sector in Nigeria and across Africa? Building a robust ecosystem for Africa’s creative economy is not without its challenges. One of the most pressing is the perception of risk. Traditional financial institutions often struggle to assess the value of creative assets, be it intellectual property, screenplays, music catalogues, or fashion collections, making it difficult for creatives to access working capital or scale their businesses. Of course, financial institutions will rightly say, “The business also needs structure.” That is precisely why we launched the CANEX programme, to bridge this gap with financial solutions specifically tailored for the unique dynamics of the creative sector. We are working to de-risk investment in the space and crowd in other financial partners. Another major hurdle is the informal nature of the creative economy. A significant number of creatives operate outside formal structures, limiting their ability to grow, protect their work, or engage in cross-border trade. To address this, we have placed strong emphasis on capacity building, offering masterclasses, workshops, incubation programmes, and SME accelerators aimed at formalising and professionalising the industry. Intellectual property protection also remains a critical concern. Many African creatives are unable to fully monetise their work due to weak IP frameworks and limited access to IP financing. Through CANEX Creations Incorporated, our dedicated subsidiary under the Fund for Export Development in Africa, we are investing in IP-based businesses and initiatives. Our goal is to support the development of investment-grade creative assets, whether by licensing, scaling brands, or building globally competitive creative enterprises. Can you emphasise the perception challenge? By perception, I’m referring to the urgent need for policymakers and investors to view the creative sector not merely as entertainment but as a serious business with immense economic potential. Encouragingly, some African governments, Nigeria being a notable example, are beginning to acknowledge this. They recognise the transformative power of creative industries to drive inclusive growth and structural economic change. That’s why advocacy is a core part of our mandate. We are actively engaging with institutions such as the African Continental Free Trade Area (AfCFTA) Secretariat and the African Union Commission to push for critical reforms in areas like services trade, labour mobility, and intellectual property rights. Our goal is clear. We want governments across Africa and Global Africa to elevate the creative economy as a strategic engine for industrialisation and transformation. This commitment also underpins the creation of what I call the Global African Platform, anchored through our Creative Africa Nexus at the Intra-African Trade Fair 2025. From 4 to 10 September in Algiers, Algeria, we expect to host over 5,000 creatives from across the continent and the diaspora. The platform will feature more than 200 exhibitors spanning fashion, film, music, visual arts, and digital content. It’s a powerful opportunity to connect creatives with investors, buyers, and collaborators and we anticipate millions of dollars in deal flow to emerge from this engagement. So, to every creative professional looking to plug into Africa’s dynamic creative economy: get your ticket and join us in Algiers this September. The future of the creative industry is being shaped there.

In this interview with BANKOLE TAIWO, the Commissioner for Justice and Attorney General of Ogun State, Mr Oluwasina Ogungbade, SAN, shed more light on why the late Awujale and paramount ruler of Ijebu land, Oba Sikiru Adetona, was buried according to Islamic rites, in line with the 2021 Obas and Chiefs Law of the state How has Ogun State been addressing the challenges of access to justice and prison decongestion? The administration of Gov Dapo Abiodun has been making concerted efforts to improve access to justice for everyone in the state and the country. This has been through multifaceted approaches. For instance, since coming into the office six years ago, the governor has facilitated the appointment of about 30 judges after their recommendation by the NJC. The government has also been ensuring that our judges sit in a conducive environment, and likewise, the litigants. The judiciary has also put in place measures to aid access to justice, such as a multi-door court system. There is also room for mediation, as not everything must go through the whole process of litigation. Regarding prison decongestion, the last review of the constitution removed the issues of prisons from the exclusive list to the concurrent list, allowing both the state and federal governments to legislate on issues of correctional services. Even before then, we have always worked together with the correctional service authority to aid their decongestion. Anyone who visits the prison as they are today will question their ability to carry out the corrections that they are supposed to be doing. I have also visited the prisons several times, and when we do, it is to interact with the officials and the inmates, look at cases of people who have spent more than the required number of years for the crimes they were alleged to have committed, and we have quite facilitated the release of a whole lot of these inmates. The constitution also empowers the governor to grant amnesty to the inmates who have spent a certain number of years, and the governor has always done that, too. About two years ago, the management of the correction service commended us for the steps taken so far to aid prison decongestion. To commemorate this year’s democracy day, quite a lot of the inmates were also released. But I must also assure the people of the state that the release of these inmates is not what we do randomly, no, we are very methodical about it, we are not just going there to release anybody or everybody. We look at the case on its merit and make recommendations to the governor before any release is made. How do you see the state of our correctional facilities? Most of them were built many years ago and are currently overstretched. Like I said earlier, the issue of correctional facilities has been moved from the exclusive list into the concurrent list, and so any state that has the will and the resources could begin to have its prisons too. The Ogun government is also working on something but because of the stage in which it is, I may not be able to talk so much about it but I can assure you that it is what we are looking at, not only prison decongestion but to also come up with our system where we can ensure that those who found themselves on the other side of the law due to one reason or the other are not thrown away because largely that is what exists now, it is like the people are being thrown away. What we plan to do is to ensure that such inmates are reformed in the process of serving the punishment for going against the law, and they are readmitted back into society as changed individuals. What is the state government making out of the backlash trailing the burial of the late Awujale of Ijebu land, Oba Sikiru Kayode Adetona, with some traditionalists promising a showdown with the government? We have continued to read that certain people are disgruntled and dissatisfied with the burial of the late traditional ruler according to Islamic injunctions. Even before going into the state laws, there is a greater law, the 1999 constitution of the Federal Republic of Nigeria as amended, which guarantees an individual right to freedom of religion, of thought and the rest. If you are alive and toe a path of religious beliefs, it won’t end after your death because each religion has its established practices even after death. The late Awujale was a Muslim during his lifetime, and with the provision of the constitution, what stops him from being buried according to the religion he practised while alive? But traditionalists argue that he was installed according to tradition, and so he should be buried in line with the tradition too… He might have been installed according to tradition, but I do not subscribe to the thought that once you are installed according to the tradition, you’ve automatically given up your rights to freedom of religion, which the constitution guarantees; that is not how it works. Let’s now look at what the 2021 Obas and Chiefs Law of Ogun State says, because a lot of people have continued to speak in ignorance; they have not taken their time to read the provisions of these laws. The law did not abrogate the participation of the traditionalists in the burial of the monarchs; it preserves it. All that the law says is that nobody should disturb the burial of an Oba by his family, and I want to assume that an Oba will be buried by his family by the faith of such a king. Section 55 of this law prescribes 12 years’ imprisonment for anyone or a group who disturbs the burial of a traditional ruler. About the traditionalists, the law now says that they will have a role, but the rites which they will perform will be as determined by the relevant traditional council of their respective areas. Of course, in Ogun State, we have the four divisions, and so we have Egba Traditional Council, Yewa Traditional Council, Remo Traditional Council and Ijebu Traditional Council, which is the umbrella body for the traditional rulers for each division. So, the roles to be played by these traditionalists in the burial of an Oba will be as determined by this traditional council, according to the peculiarity of their domain, such decision will now be made in the form of a declaration that when an Oba passes away these are the rites to be conducted with regards to the burial of that Oba in the traditional way. After getting the declaration, the traditional council will also register it with the Commissioner for Ministry of Local Government and Chieftaincy Affairs; that’s what the law says. Even though Obas ascend the throne using a declaration, this thing we call tradition is in itself made in the form of a declaration, which is registered, and that regulates how Obas are installed. If the law has also now said that with regards to the burial rites, let us have a declaration, register it with the appropriate commissioner, what is wrong with that? The question we should be asking, or that they should be asking themselves, is where the declaration is.  And the law has put all of these in place so that nothing will be hidden from anyone. I must also add that the 2021 Obas and Chiefs Law of the state also criminalises the mutilation or cannibalisation of the corpse of an Oba. Let everything you want to do be in the open; this is 2025. The law has only provided that let us know what you want to do, but right now, they are saying that the government has prevented us from doing what we ought to do. It will also be good if they can provide the government with the declaration that they are supposed to have registered with the government, but for the burial of the Awujale, there was nothing like that. Like I said earlier, I hope that reason will prevail and they will get legal advice and drop this agitation, and rather move towards getting the proper declaration registered with the government. But the traditionalist, the Ifa Council, is threatening a legal battle with the government. Does that mean the state remains unshaken and also legal battle-ready? It is not that we are excited to go to court over this issue with anyone, not at all, because I believe that some of these things are not necessary. Ogun State is known to be peaceful, and it encourages peaceful coexistence among all the tribes as well as the adherents of Christianity, Islamic and Traditional religion. We do not want anything that can cause any disharmony in any part of the state. However, the fact that they have chosen to go to court is welcome in the sense that the court exists to settle disputes between individuals and government, it is a welcome development if they have decided to travel through the legal route, though it is regrettable that they have decided to go that far but we will respond whenever we are contacted. What is your advice to the traditional council that has refused to draw up a declaration guiding the burial rites of traditional rulers as stipulated by the law? My advice is not only to the traditional council but also to anybody, be it the traditionalists, the Osugbos or whoever is interested in the agitation, that when an Oba dies, he is buried according to the customs, that they should take advantage of this law and put everything that the law requires in place. You cannot build something on nothing. The law has said that you can do this, but before you do it, let us know exactly what you want to do and register it with the government. You have not done that, but here you are accusing the government wrongly of preventing you from doing what the government said you can do once you only have to fulfil certain conditions. My advice to them all is to look at the law and take advantage of what the law has explicitly required them to do; it is as simple as that. With this declaration coming from the traditional council, will it still affect the provision of the law that bans the mutilation and cannibalisation of the corpse of the king? Of course, the law has made it clear that the body of an Oba must not be tampered with or mutilated. I doubt if any declaration from the traditional council will say that the corpse of an Oba should be mutilated, but if we see something like that, it means that such a declaration won’t be registered by the government. The declaration must be made by the provision of the law, or else it won’t be registered or approved by the government. If the traditionalists look at the law very well, they will know that the law has not said that they can’t perform their rites, except that they are saying that the rites which they want to perform will be with the body of the late royal father, which is not allowed. The law has said that you cannot cannibalise or mutilate the body of an Oba, and so be it. Will you canvass that the National Assembly adopts this version of the Ogun State law? The issues involved rest with each of the state of the federation and already some states in the Southwest contacted me when we passed the law, a copy of the law was sent to them and I am sure they are still studying it, and even with the noise the recent incident, that is the burial of the late Awujale generated after he was buried according to the Islamic rites, I have received several calls from traditional rulers from other states commending the Government of Ogun State for what we have done. It is something that I will also recommend for other states, but like I said, it is a matter for the state. However, above all, the constitution is there, Section 38 is binding on all of us, whether you are in Adamawa, Ogun, Ebonyi, Oyo and so on…the right to freedom of religion and others are fully entrenched there. Does that mean that you won’t agree with those saying that the Ogun State Government is colluding with some individuals to bastardise the cherished culture of the Yoruba land? We certainly reject such baseless accusations. You will recall that Ogun State has recognised the traditionalists’ day called Isese Day, which is observed every 28th of August across the state. Again, at the risk of repetition, the law preserves the traditional rites; it doesn’t take them away, so it will be wrong for anyone to be saying what they do not know. But the traditionalists are saying that the government has taken the burial away from them because they’re saying that it is the Osugbos that must bury the traditional rulers… You see, tradition must evolve with time, just like culture; it is not static. They may be referring to practices that had been in place for hundreds of years, but we can’t say that this is how we have been doing it, and we must continue that way, and as I have said, they should comply with the law. Let us ask ourselves, can any Osugbo or any other group for that matter, install any traditional ruler without government approval? They cannot. The throne of Awujale is vacant now. Can the throne be occupied without the government approving all the processes that govern having the vacant throne filled? There has to be approval from the government for the next ruling house to commence the process of nomination of those who are eligible for the filling of the vacant stool. When they have that family meeting, it will be monitored by the secretary of the local government, who will write a report and send it to the Ministry of Local Government and Chieftaincy Affairs, who will now generate a paper and send it to the Ministry of Justice. The Ministry of Justice will check the report to ensure that the provisions of the law of the state have been complied with. Once the Ministry of Justice approves the report, it can then forward this name to the executive council for approval. I have done all of these explanations to let you know that the traditionalists cannot do anything without the input or approval of the government. So, I don’t know where this noise about government interference is coming from. If you can’t install without government, and the government is now saying that you cannot bury without letting us know exactly what rites you want to do, what then exactly is the problem? You can’t even appoint outside the declaration approved by the government. Perhaps, the traditionalists should start their agitation by saying that they want to start appointing the traditional rulers without the consent of the government, but that won’t work. What is the way forward in the face of the back and forth argument, temper flaring and the agitation? Well, the law itself went through a process when it was going to be passed; it wasn’t like it was done under the military when decrees were just rolled out overnight. It went through public hearing and the rest. The way forward is that the traditionalists should comply with the law as it is today. They should get the relevant traditional council across the state to prepare their declaration, which will guide the burial of an Oba, and register such with the government, and if they feel that that won’t still be enough, they are at liberty to push for the amendment of the law.

Dominic Solanke's first-half penalty kept Tottenham Hotspur's season alive as they defeated Eintracht Frankfurt to reach the semi-finals of the Europa League. Tottenham wasted several chances to take control of the tie during a 1-1 draw in the first leg last week, but in Frankfurt Ange Postecoglou's side spent large spells without the ball and under pressure. Spurs were awarded a penalty as half-time approached when Frankfurt goalkeeper Kaua Santos mistimed his jump and clattered into James Maddison while attempting to claim a long ball forward. Maddison's team-mates were incensed when referee Davide Massa failed to award a spot-kick, though he changed his decision after a video assistant referee (VAR) review and booked Santos. Solanke stepped up to take the spot-kick - Postecoglou appeared to indicate he wanted the striker to take it - and stroked the ball down the middle as Santos dived to the left. Maddison - who initially continued after receiving treatment - was replaced in first-half stoppage time by Dejan Kulusevski. Spurs struggled to keep the ball in central areas after losing the England midfielder, and spent the first 15 minutes of the second half repelling wave after wave of Frankfurt attacks. Though the hosts dominated possession after the break, Tottenham threatened on the counter-attack and from set-pieces. Cristian Romero headed narrowly wide from a corner just after the hour mark, before Rodrigo Bentancur headed over from a similar situation. Guglielmo Vicario produced a magnificent save with his legs to keep out Fares Chaibi from close range as Eintracht upped the pressure, before Leeds loanee Rasmus Kristensen dragged wide with the goal gaping following a cut-back. Tottenham will face either Lazio or Bodo/Glimt in the final four. It has been an abysmal season for Tottenham and their supporters, but with one last shred of hope on the line, Postecoglou's players turned up. Spurs fought and scrapped all night, and in the second half managed to weather a Frankfurt storm on a rainy night in Germany. Tottenham started fairly comfortably, limiting the hosts to half-chances and going close through a curling Mathys Tel effort. However, they almost succumbed to the kind of defensive mishap that has plagued their Premier League campaign. Frankfurt striker Hugo Ekitike looked primed to score after a Santos goal-kick split the Spurs defence in half, but Micky van de Ven recovered to deny the Frenchman with a last-ditch tackle. The penalty was the defining moment of the night, and not just because it produced the game's only goal. Maddison's self-sacrifice summed up an attitude that has been lacking at times this season, a willingness to put bodies on the line and stand firm in the face of adversity. The result was a mature performance from a side that has looked anything but for much of this season, and the prize just a third European semi-final in 44 years. With little else to play for and Postecoglou's job on the line, Tottenham came of age. Three games now separate them from a first trophy win in 17 years.