Tope Akintayo is a multifaceted individual with a deep passion for the arts, creative industries, and both classical and contemporary culture. His interests extend beyond the conventional, embracing the dynamic field of sustainability. As a Cultural Manager, Anthologist/Curator, Creative Director, and Publisher, Tope Akintayo has carved a niche for himself in the world of arts and culture. His work is not confined to a single domain but spans across various creative fields, making him a versatile figure in the industry.
Tope Akintayo is the director of Witsprouts Global, a social and cultural organization dedicated to fostering deeper engagement in African arts and culture. This platform serves as a testament to his commitment to promoting African arts and culture, providing a space for dialogue, exploration, and appreciation. In 2018, Tope Akintayo started a personal development blog, interviewing notable change-makers and recording their stories to inspire change within communities of young people. This initiative further underscores his dedication to fostering growth and development through the power of storytelling.
In addition to his cultural pursuits, Tope Akintayo is a seasoned web designer with years of industry experience. His journey in web design began as a student, and he quickly built a portfolio by creating blogs and websites for friends and family. His expertise in this field is evident in his significant projects, including the website of the now-defunct Petroleum Equalization Fund in Nigeria.
Tope Akintayo’s work is a testament to his passion for the arts, culture, and creative industries. His contributions to these fields have not only enriched the cultural landscape but also paved the way for deeper engagement and appreciation of African arts and culture.
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Haneefah :Thank you for granting this interview. I must confess, I am in awe of how passionate you are about arts. I have seen the works you have done and you are doing with The Moveee Magazine and The Wisprouts. What inspired you to found The Moveee Magazine and The Wisprouts?
Tope: My passion for arts and literature inspired me to found Moveee and Wisprouts. I wanted to create platforms that celebrate creativity, encourage emerging artists, and foster a love for literature.
Haneefah: You seem to be interested in almost every aspect of art and literature. Do you think all forms of art and literature can not live without each other? Will you choose one over the other if you have to?
Tope: I believe all forms of art and literature are interconnected and enrich each other. If I had to choose, I would choose literature because it’s the medium I feel most comfortable expressing myself in.
Haneefah: Wisprouts have been working on three major projects over the years namely; Wisprouts Anthologies, The Poetry Experience, Get Me Lit Newsletter. Which of these projects have been the most exciting to you?
Tope: All three projects have been exciting in their own ways, but Witsprouts Anthologies has been the most exciting. And I say this mainly because it’s the only one I’ve had the chance to really explore. Love Grows Stronger in Death would be the second edition of the anthologies. Get Me Lit and The Poetry Experience has been on a pause since their first round of series. Perhaps, I’ll be able to make a more informed choice by the time the two projects spring back to full action.
Haneefah: In 2018 and 2019, Wisprouts partnered with Afroanthology to publish anthologies. How have the Afroanthology projects influenced Wisprouts anthology?
Tope: My first exposure to the world of publishing and to the making of anthologies was with Afroanthology Series in 2018. I was part of the team that produced its very first anthology, Selves. It was interesting that we when I founded Witsprouts later, we ended up partnering in publishing more works. Being a part of Afroanthology team and eventually partnering with Afroanthology has greatly influenced Wisprouts anthology. It has broadened our horizons and allowed us to reach a wider audience.
Haneefah: Until the 2024 Wisprouts Anthologies, all others are Non-fiction. What changed in 2024, why fiction this time?
Tope: Let me first mention that The Year of Free Birds was a collection of fiction with visually impaired protagonists. However, you can say that most of our previous works are nonfiction. In 2024, we decided to explore fiction to provide balance. First, to create a platform for storytellers and also to diversify the content of our anthologies.
Haneefah: In 2020, you curated an anthology titled , TWENTY – 20 and you stated in your note: “The goal (of this project) is to prompt everyone to look beyond the pains of the collateral beauties.” It is certain that the Wisprouts Anthology is a way of healing to you and others. Why exactly did you decide that there is need to have contributors write about the pandemic year experiences?
Tope: The pandemic year was a challenging time for everyone. I felt it was important to document these experiences as a form of collective healing. Also, the subtitle for that project is “Stories and Lessons from the Pandemic Year,” and this is a hint to the type of book I wanted it to be — I wanted it to be a record of realities, but I also wanted it to be more than just a piece of literature, I wanted it to be some sort of therapy both for the writers and the readers.
Haneefah: Why did you see the need to create The Moveee considering that it could be a project under Wisprouts?
Tope: Although this is not evident yet, Moveee is actually one of the projects run by Witsprouts. While it might appear that Witsprouts is focused solely on literature, neglecting the other forms of the arts and culture. The Moveee was created to cover the expanding ecosystem of cultural expression and creativity in the continent and its diaspora, beyond literature.
Haneefah:Every piece of writing in the anthologies you have curated is all together an emotional rollercoaster especially the nonfiction genre. At some point , don’t you think the writers are giving their vulnerability out to the world?
Tope: Writing, especially nonfiction, often involves sharing personal experiences. I believe this vulnerability is what makes the stories relatable and impactful. In fact, this is specifically what the aim of the projects were – a platform that allows for total openness without the fear of judgement.
Haneefah: What should the world expect from the recently released anthology you curated titled, LOVE GROWS STRONGER IN DEATH ?
Tope: Readers can expect a collection of heartfelt stories exploring the theme of love and loss in Love Grows Stronger in Death. I am very excited about how all the authors have been able to bring in varying perspectives to the theme. Everything came together beautifully.
Haneefah: Do you think there is more to be written that has not be written despite having thousands of writers around the world?
Tope: I believe there’s always more to be written. Every writer brings their unique perspective and voice to the world of literature.
Haneefah: Nigerian writers have been confirmed to be part of the best writers around the world. Do you think Nigerian Writers are doing enough and do you think they have gotten enough recognition ?
Tope: Nigerian writers have indeed made significant contributions to world literature. However, there’s always room for more recognition and support for their work.
Haneefah: Books are said to be more detailed than movies. Novels like Chimamanda Ngozi Adichie ‘s HALF OF A YELLOW SUN, Seffi Attah’s SWALLOW and others have been adapted into movies. Do you think the movies do justice to the content of the books and do you think the Nigerian movie industry appreciate Nigerian novelists enough?
Tope: While movies can bring the visual aspect of novels to life, they may not capture all the nuances of the written word. I believe the Nigerian movie industry can do more to appreciate and adapt works of Nigerian novelists. This is one of our long-term goal at Witsprouts, to be able to cross adapt African arts across all forms, in this case, adapting more African literature into a more accessible form as a movie.
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Haneefah Abdulrahman is a writer, interviewer, spoken poetry artiste and podcaster from Nigeria whose work has appeared in Nigerian Review, Wisprout Project, Arts MuseFair, and elsewhere. She is a 2021 fellow of Ebedi International Writers Residency, a Pioneer fellow of Imodoye Writers’ Residency, and she was a Columnist at DailyTrust Newspaper. She is the Author of Shades of Becoming. She is the 2021 Winner of The Arewa Rising Literary Star. Born in Kaduna, Haneefah is an indigene of Kogi State. She is a student of English Literature at Ahmadu Bello University, Zaria. Haneefah is the founder of FitzNArtz. She is the Chairperson of the Kaduna Branch, Hill-Top Creative Arts Foundation, the 2021/ 2022 Chairperson of the Creative Writers Club, Ahmadu Bello University, Zaria – Nigeria, the Editor-in-Chief of Literature Voices (LITVO) and the Editorial Assistant of the Moveee Magazine.
