By Favour Longret
Blending art, therapy, and policy, the Abuja conference redefined clay as a tool for healing, identity, and sustainable cultural growth
In a groundbreaking celebration of indigenous heritage, the National Pottery Conference 2025 took place in Abuja, transforming clay from a humble craft into a symbol of cultural rebirth, mental healing, and economic opportunity.
Held at the historic Shehu Musa Yar’Adua Centre, the event was convened by Tade Craft Limited and produced by CentreStage Limited under the strategic leadership of Dr. Naomi Osemedua. With over 130 attendees from government, diplomatic missions, academia, creative industries, and the private sector, it marked a defining moment for Nigeria’s cultural economy.
Timed with Mental Health Awareness Month, the conference explored pottery’s intersection with wellness, sustainability, and national identity.
“This conference was born out of my own healing journey,” said Bamikole Adeola Blessing, founder of Tade Craft. “Clay does more than create—it restores. We need more spaces that celebrate our cultural identity while offering therapeutic and economic value.”
The day opened with a tour of the Shehu Musa Yar’Adua Exhibition, anchoring the program in civic memory. Keynote addresses followed from government and cultural leaders.
Hannatu Musa Musawa, Nigeria’s Minister of Arts, Culture and Creative Economy, described the event as “a national necessity,” pledging government support for indigenous culture as a driver of both healing and wealth.
Obi Asika, DG of the National Council for Arts and Culture (NCAC), echoed that sentiment:
“Every pot holds a story. And every story carries a nation’s heritage.”
The Centre for Black and African Arts and Civilisation (CBAAC) also endorsed the event, with support from its Director General, Hon. Aisha Adamu Augie.
One of the most compelling contributions came from Professor Farida Garkida, who repositioned pottery as a scientific practice:
“Pottery is not just creative—it’s scientific. It merges chemistry, material science, and cultural tradition. And historically, it’s been led by women.”
Garkida called for greater research investments, documentation of traditional knowledge, and formal recognition of craft as science.
Emotional depth came from Fatima Salisu, founder of Arewa Pottery, who shared her personal story:
“Pottery gave me space to feel without explanation. We don’t just mold clay, we mold hope.”
Immersive workshops followed, alongside curated ceramic exhibitions, spoken word performances, and panels on sustainable design and mental health. In one highlight, poet Love Wilson performed “Mould Me Whole”:
“Mental health is not madness—it’s the kiln we’ve ignored. And therapy? That’s the potter’s touch.”
A high-level panel featured:
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Kelvin Charles, Executive Director, Presidential Economic Advisory Council (cultural resilience & nation-building)
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Tanko Dakoyi Ushafa, founder, Kande Ushafa Pottery (traditional revival)
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Adedotun Esan (Ditty), mental health advocate (cultural-based therapy)
Attendees described the event as transformative:
“Art is therapy,” said Elizabeth Adeleke.
“Clay can replace plastic and reduce microplastics,” added Princess Duadu.
“It sparked my confidence,” shared Dr. Charity Akpambo.
At the helm was CentreStage Limited, whose founder, Dr. Naomi Osemedua, said:
“We don’t just produce events—we build movements through story and soul.”
With backing from partners like Nike Art Gallery, Molatt Travel and Tours, Circuits TV, Legacy TV, and Arewa Pottery, the National Pottery Conference 2025 emerged as a catalyst for cultural sustainability and creative healing.
It was more than an event—it was a declaration: Nigeria’s future is being molded by hands that remember the past, shaping a future of healing, heritage, and hope.
