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Anthony Obi Ogbo

Akwete fabric makers must mechanize quickly—the Chinese are coming

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4 years ago

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So, how can local Akwete fabric producers get adequate training to replace antiquated manual labor methods with competitive contemporary machines and mechanisms?

The new governor of Anambra State, Chukwuma Charles Soludo, may have set in motion what might be perceived as the second revolution of Akwete textiles. Throughout his campaign, and as recently as today, he has not just preached this philosophy but has also demonstrated it by voluntarily offering himself as this local trade’s brand ambassador. According to the governor, “My Akwete dress is not just a dress; it’s a statement. I want to make a statement with it. You know, in the entire Southeast, this is the only textile product alive, and it’s handmade by the women of Akwete in Abia State.”

Soludo’s proclamation soon aroused other leaders in the Southeast to follow suit and advocate a similar cause―to revitalize and purchase these local textiles. A few days ago, Governor Okezie Ikpeazu of Abia (Akwete’s home state) and other governors attending the People’s Democratic Party (PDP) Governors’ Forum wore Akwete fabrics to their meeting in the Ukwa East local government area.

Governor Ikpeazu has always been a fan of this fabric and has always expressed pride that it comes from his home state. Other political and community leaders and celebrities of Igbo descent have also used this fabric to demonstrate loyalty.

However, the purpose of this commentary is not to assess the people’s benefaction of, or devotion to, this product. By all indications, this product and the makers have now been given another chance to prosper from their handicraft once again. Igbos, it appears, are passionately ready to make this fabric their signature attire. One may recall that Akwete fabric textiles thrived during the nineteenth century and were worn by the women of Akwete (now Abia State). The Igbos then started trading this fabric for goods from international traders and those from other parts of Nigeria.

Online commerce has extensively superseded traditional face-to-face or business-to-business trade engagements

Currently, however, the Akwete production technique is not very different from what it was when it began. The weaving involves a laborious, manual interlacing technique performed on a two-system loom. Weavers sit on a low chair, and they labor for hours to produce a substantial length. Today, however, the global system has completely changed, and the economic environment is entirely different. Online commerce has extensively superseded traditional face-to-face or business-to-business trade engagements.

Remember, Akwete clothmakers are local, traditional fabricators who do not know about branding their talents nor elevating them to a competitive market level. They are, therefore, likely to lose their entire Akwete fabric culture to larger, capital-oriented companies from other places. It’s possible that while wearing this fabric at political events or in loyalty to a homemade product is healthy for promotion and ancestry comradeship, it might bear no economic relevance.

Currently, there have been attempts by a few Nigerian traders and investors to develop a more modernized fabrication system, but that might not be enough to sustain the modern global market structure.   For instance, with China’s advent as a significant player in Africa, trade and investment have grown tremendously. China now competes with the United States and European Union (EU) as one of Africa’s trade, investment, and aid partners. They are all over Africa buying up ideas and exploring products and cultures—and then commercializing them through predatory monopolistic ventures.

Globally, the fabric industry is strong. Unfortunately, African fabric dealers and manufacturers remain vulnerable to more aggressive, well-prepared foreign merchants. For example, Qingdao Phoenix, a Chinese textile industry specializing in African wax printing materials, touts the most advanced equipment and latest technologies in textile production. This company is also the manufacturer of the Hitarget brand, which features what are considered to be the most popular African print designs, styles, and colors. Interestingly, most Dutch designs available today within the African marketplace are low-cost reproductions made in China.

Akwete challenge is beyond a trending “made-in-Abia” excitement

Therefore, the Akwete challenge is beyond a trending “made-in-Abia” excitement. It is now a matter of urgency to facilitate the strategic transition from creating these products by hand to using relevant technologies. This philosophy must go beyond looking at who wears these fabrics or does the photoshoot; training, capital investment, and other appropriate support efforts are necessary to initiate technological innovation and process change.

So, how can local Akwete fabric producers get adequate training to replace antiquated manual labor methods with competitive contemporary machines and mechanisms? How can they embrace relevant technologies to distribute and market this product and eliminate the current, outdated business-to-consumer sales and distribution culture? How sincerely do they want to remain producers, distributors, or perhaps sole custodians of their talent and artistic culture—without losing out to today’s ruthless, capitalistic market environment?

Grab a coffee, and let’s have a conversation. #

♦Publisher of the Guardian News, Professor Anthony Obi Ogbo, Ph.D. is on the Editorial Board of the West African Pilot News. He is the author of the Influence of Leadership (2015)  and the Maxims of Political Leadership (2019). Contact: anthony@guardiannews.us

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Anthony Obi Ogbo

Texas’ 18th Congressional District Runoff: Amanda Edwards Deserves This Seat

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8 hours ago

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December 18, 2025

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“Her persistence and long-term investment make a clear case: she has earned this opportunity.“ —Anthony Obi Ogbo

In the special election to fill Texas’s 18th Congressional District, no candidate won a majority on November 4, 2025, leading to a January 31, 2026, runoff between Democratic frontrunners Christian Menefee and Amanda Edwards. Menefee, Harris County Attorney, led the field with roughly 29% of the vote, while former Houston City Council member Edwards finished second with about 26%. Both are vying to represent a district left vacant after the death of U.S. Rep. Sylvester Turner.

The 18th Congressional District is far more than a geographic area. Anchored in Houston’s historic Black communities, it is a political and cultural stronghold shaped by civil rights history, faith institutions, and grassroots activism. Sheila Jackson Lee represented this district for nearly three decades (1995–2024), becoming more than a legislator—she was a constant presence at churches, funerals, protests, and community milestones. For residents, her leadership carried spiritual weight, reflecting stewardship, protection, and a deep, almost pastoral guardianship of the district. Her tenure symbolized continuity, cultural pride, and a profound connection with the people she served.

Houstonians watched as Jackson Lee entered the 2023 Houston mayoral race, attempting to transition from Congress to city leadership. Despite high-profile endorsements, including outgoing Mayor Sylvester Turner and national Democratic figures, she lost the December 9, 2023, runoff to State Senator John Whitmire by a wide margin. Following that defeat, Jackson Lee filed to run for re-election to her U.S. House seat, even as Edwards—who had briefly joined the mayoral race before withdrawing—remained in the congressional primary.

At that time, Jackson Lee’s health was visibly declining, yet voters still supported her, honoring decades of service. She defeated Edwards in the 2024 Democratic primary before announcing her battle with pancreatic cancer. Her passing in July 2024 left the seat vacant.

Edwards, already a candidate, sought to fill the seat, but timing and party rules intervened. Because Jackson Lee died too late for a regular primary, Harris County Democratic Party precinct chairs selected a replacement nominee. Former Houston Mayor Sylvester Turner, a retired but widely respected figure, narrowly edged out Edwards for the nomination, effectively blocking her despite her prior campaigning efforts. Turner won the general election but died in March 2025, triggering a special election in 2025, in which Edwards advanced to a runoff.

The January 31, 2026, runoff will hinge on turnout, coalition-building, and key endorsements. Both candidates led a crowded November field but fell short of a majority, with Menefee narrowly ahead. Endorsements such as State Rep. Jolanda Jones’ support for Edwards could consolidate key Democratic blocs, particularly among Black women and progressive voters. In a heavily Democratic district where voter confusion and turnout patterns have been inconsistent, the candidate who best mobilizes supporters and unites constituencies is likely to prevail.

Amanda Edwards’ case is compelling. Although both candidates share similar values and qualifications, her claim rests on dedication, consistency, and timing that have been repeatedly denied. She pursued this seat with focus and purpose, maintaining a steady commitment to the district and its future. Her path was interrupted by the prolonged political ambitions of Jackson Lee and Turner—figures whose stature reshaped the race but delayed generational transition. Edwards did not step aside; she remained visible, engaged, and prepared. In a moment demanding both continuity and renewal, her persistence and long-term investment make a clear case: she has earned this opportunity.

This race comes down to trust, perseverance, and demonstrated commitment. Amanda Edwards has consistently shown up for the district, even when political circumstances repeatedly delayed her chance. Her dedication reflects readiness, respect for the electorate, and an unwavering commitment to service. Voting for Amanda Edwards is not only justified—it is the right choice for Houston’s 18th Congressional District.

♦Publisher of the Guardian News, Professor Anthony Obi Ogbo, Ph.D., is on the Editorial Board of the West African Pilot News. He is the author of the Influence of Leadership (2015)  and the Maxims of Political Leadership (2019). Contact: anthony@guardiannews.us

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When Power Doesn’t Need Permission: Nigeria and the Collapse of a Gambian Coup Plot

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4 days ago

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December 14, 2025

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“Power does not always announce itself; sometimes it prevents chaos simply by being present.“ —Anthony Obi Ogbo

A failed coup attempt in The Gambia reveals how Nigeria’s understated military, diplomatic, and intelligence influence continues to shape West African stability—without spectacle, but with unmistakable authority.

The attempted destabilization of The Gambia—quickly neutralized before it could mature into a full-blown coup—served as a quiet but powerful reminder of how regional power is exercised in West Africa today. While social media narratives raced ahead with exaggerated claims and half-truths, the reality underscored a familiar pattern: Nigeria remains the pivotal stabilizing force in the sub-region, especially when the democratic order is threatened.

Unlike the dramatic coups that have unsettled parts of the Sahel, the Gambian plot never gained momentum. It faltered not by accident, but by deterrence. Intelligence sharing, diplomatic signaling, and the unmistakable shadow of regional consequences helped shut the door before conspirators could walk through it. At the center of that deterrence was Nigeria—acting through ECOWAS mechanisms, bilateral security coordination, and its long-established role as the region’s security backbone.

Nigeria’s influence in The Gambia is not a new phenomenon. From the 2017 post-election crisis, when Nigerian forces formed the backbone of the ECOWAS Mission in The Gambia (ECOMIG), to ongoing security cooperation, Abuja has consistently demonstrated that unconstitutional power grabs will not be tolerated in its neighborhood. The recent coup attempt—however embryonic—was measured against that historical memory. The message was clear: the region has seen this movie before, and Nigeria knows how it ends.

What is notable is not just Nigeria’s military weight, but its strategic restraint. There were no dramatic troop movements or chest-thumping announcements. Instead, Nigeria’s power was exercised through quiet pressure, coordinated intelligence, and credible threat of collective action. That subtlety is often overlooked in an era obsessed with spectacle, but it is precisely what makes Nigerian influence effective. Power does not always announce itself; sometimes it prevents chaos simply by being present.

The Gambian coup flop also exposes a wider truth about West Africa’s information ecosystem. Rumors travel faster than facts, and failed plots are often retrofitted into heroic or conspiratorial narratives. Yet the absence of tanks on the streets and the continuity of constitutional governance speak louder than viral posts.

In a region grappling with democratic backsliding, Nigeria’s role remains decisive. The Gambian episode reinforces a hard reality for would-be putschists: while coups may succeed in pockets of instability, they are far less likely to survive in spaces where Nigeria’s regional influence—political, military, and diplomatic—still draws firm red lines.

The failed coup attempt in The Gambia is a blunt reminder that real power in West Africa does not always announce itself with tanks, gunfire, or televised bravado. Sometimes it arrives quietly—and when it does, it often carries Nigeria’s imprint. While social media chased rumors and inflated conspiracy theories, the reality was far less dramatic and far more decisive: the plot collapsed because the regional cost of success was simply too high.

Unlike the coups that have torn through parts of the Sahel, the Gambian attempt never found momentum. It was stopped not by chance, but by deterrence. Intelligence sharing, diplomatic signaling, and the unspoken certainty of ECOWAS intervention closed the door before it could open. At the center of that deterrence stood Nigeria, operating through regional institutions and long-established security relationships. Abuja did not need to issue threats; its history spoke for itself.

Nigeria’s influence in The Gambia is rooted in memory. In 2017, Nigerian forces formed the backbone of the ECOWAS Mission, which enforced the electoral will and prevented a democratic collapse. That precedent still haunts would-be putschists. They know how this story ends, and they know who writes the final chapter.

What makes Nigeria’s power effective is not just military superiority, but strategic restraint. There were no dramatic troop movements or chest-thumping speeches—only quiet pressure, coordinated intelligence, and credible readiness. In a region addicted to spectacle, this restraint is often mistaken for weakness. It is not.

The Gambian coup flop also exposes the toxicity of the information space, where fiction outruns fact. But governance is not decided online. It is decided by institutions, alliances, and forces that do not need permission to matter. The message to plotters is brutal and clear: coups may succeed where chaos reigns, but they rarely survive where Nigeria still draws the red lines.

♦Publisher of the Guardian News, Professor Anthony Obi Ogbo, Ph.D., is on the Editorial Board of the West African Pilot News. He is the author of the Influence of Leadership (2015)  and the Maxims of Political Leadership (2019). Contact: anthony@guardiannews.us

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Burna Boy, the Spotlight, and the Cost of Arrogance

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3 weeks ago

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November 27, 2025

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“Humility is the anchor that keeps greatness from drifting into delusion.“ —Anthony Obi Ogbo

Fame is a dangerous flame. It warms, it dazzles, and if you hold it too close, it burns straight through the layers of judgment that keep a person grounded. In its hottest glow, fame convinces artists that applause is permanent, talent is immunity, and fans are disposable. Arrogance doesn’t erupt overnight—it grows in the quiet corners of unchecked power, in entourages that never challenge, and in audiences that forgive too easily. But the world has a way of reminding every superstar of one brutal truth: no one is too famous to fall.

This season, Burna Boy is learning that lesson in real time. The Grammy-winning giant—hailed globally as the “African Giant”—is now facing one of the most dramatic reputational meltdowns of his career. Five U.S. arena dates on his NSOW Tour have reportedly been cancelled due to poor ticket sales and a fierce wave of fan backlash following his Denver debacle. What was supposed to be another triumphant American tour has spiraled into an expensive public relations disaster.

It all ignited on November 12, 2025, at the Red Rocks Amphitheatre in Colorado. The show started late. Energy was high. Then Burna Boy spotted a woman in the front row who had fallen asleep. Instead of performing through it, he halted the show, called her out publicly, ordered her partner to “take her home,” and refused to continue until they left. The humiliation would have been bad enough on its own. But later reports revealed she wasn’t drunk or uninterested—she was exhausted, mourning the recent death of her daughter’s father.

The internet demanded empathy. Burna responded with contempt. A sleeping fan, he said, “pisses me the f*** off.” And then the line that detonated the backlash: “I never asked anybody to be my fan.” Those ten words may become the most expensive sentence of his career.

This wasn’t an isolated flare-up. Burna Boy has long danced on the edge of arrogance, and the public has kept receipts. In 2019, he halted a performance in Atlanta to eject a fan who wasn’t dancing—handing the man money and telling him to leave. In Lagos in 2021, a fan who attempted an innocent stage hug was shoved off by security, sparking outrage over excessive force and coldness.

The following year was worse. In 2022, his security team was accused of firing shots in a nightclub after a woman allegedly rejected him, injuring multiple patrons and triggering legal headaches that trailed him for months. Fast-forward to January 2023: at his “Love, Damini” concert in Lagos, he arrived hours late, berated the crowd, and left fans feeling disrespected and insulted.

By 2025, the pattern was undeniable. He kicked a fan offstage during a New Year’s performance. Months later, he brought a Colorado concert to a standstill until an “unengaged” couple was escorted out. The incidents piled up, painting a portrait of an artist increasingly out of touch with the people who made him a global phenomenon.

This latest incident, however, has delivered the sharpest consequence yet: the U.S. market—a notoriously unforgiving arena—has pushed back.
Cancelled shows. Sparse crowds. Boycotts. Refund demands.
For perhaps the first time, an African artist of Burna Boy’s magnitude is experiencing a full-force American-style public accountability storm.

If African entertainers are paying attention, they should treat this moment as a case study in how fame can be mismanaged.

The first lesson: Fan value is sacred. Fans are not props. They are not subjects. They are not inconveniences in an artist’s emotional universe. They are customers, supporters, ambassadors, and—most importantly—the foundation on which every stage, every award, and every paycheck rests.

The second: Empathy is not optional. A superstar who cannot pause long enough to consider that a fan might be grieving, ill, exhausted, or battling something unseen is a superstar who has forgotten the humanity at the core of all art.

The third: Professionalism is currency. Arriving late, publicly shaming fans, halting shows, and weaponizing power in moments of irritation are choices that corrode trust. And once trust is broken, even a global superstar can watch ticket sales collapse in real-time.

Burna Boy is an extraordinary artist—brilliant, groundbreaking, and influential. His musical legacy is secure. But greatness in artistry is not the same as greatness in character. Fame tests the latter far more than it rewards it. And the spotlight, no matter how bright, does not protect anyone from the consequences of their own behavior.Humility is the anchor that keeps greatness from drifting into delusion. Burna Boy’s current storm is a brutal reminder that talent without restraint can become tyranny, and fame without introspection can become a curse. Artists rise because people believe in them, invest in them, and support them. When that respect is abused, loyalty evaporates. The lesson is stark: the higher the pedestal, the harder the fall—and the fall always comes. What matters is not the applause you command, but the humanity you maintain long after the music stops.

♦Publisher of the Guardian News, Professor Anthony Obi Ogbo, Ph.D., is on the Editorial Board of the West African Pilot News. He is the author of the Influence of Leadership (2015)  and the Maxims of Political Leadership (2019). Contact: anthony@guardiannews.us

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