In the buzzing creative quarter of Bradford, a city slowly rewriting its artistic identity, one performer’s name has begun to surface in conversations about renewal, representation, and rhythm, Daniel Okezue. Poet. Actor. Comedian. Host. Creative visionary.
Okezue is not merely a performer, he is a presence. His work, grounded in theatre but reaching far beyond the stage, carries the confidence of an artist who understands that performance is not just entertainment, but a vessel for truth, history, and connection.
A Festival In Full Colour
This past August, Daniel took centre stage at the Bradford African Festival of Arts (BAFA) 2025, not as a performer alone, but as the creative force curating its entire experience. For four days, the city’s air pulsed with African rhythm and colour, drummers echoing through Centenary Square, dancers tracing ancestral stories through movement, poets blending heritage with hope.
Daniel hosted it all with wit and grace, bringing a rare balance of laughter and leadership. As the official host and programme curator, he shaped the flow of performances, designed the artistic ambience, and used his trademark humour to create a space that felt both joyful and reflective. “For me, art is about belonging,” he once said. “And festivals like BAFA remind us that culture is not something we inherit, it’s something we continue to create.”
The Stage As Mirror and Message
In October, Daniel’s artistic energy turned to the stage. To commemorate Nigeria’s 65th Independence Anniversary, he starred in The Coffee Shop, a production that explored identity and nostalgia. His portrayal of the lead character, a man caught between memory and modernity, drew deep applause for its subtle emotion and truth.
Then, just a week later, Daniel transformed once again, this time into the legendary Kenyan revolutionary Dedan Kimathi, in The Trial of Dedan Kimathi. Staged under the British Council UK–Kenya Season, and in partnership with The African Centre London, Theatre in the Mill, and BAFA, the production marked a defining moment in Daniel’s artistic journey.
On stage at Theatre in the Mill, Daniel was electric, embodying Kimathi not as a distant historical figure, but as a living spirit of defiance and dignity. “When I play roles like this,” he reflects, “I’m not just performing history, I’m continuing it.”
Roots And Renaissance
Daniel’s creative journey began in Nigeria, where his early work in theatre and poetry established him as a compelling storyteller with a social conscience. Since relocating to the UK, his influence has only deepened. He has collaborated with art organisations including Bradford 2025 City of Culture, Black Led Art Network, Bradford Artists Group, Bradford Music Scene, Bradford PlayHouse and Theatre in the Mill, and his performances have graced festivals like Blankets & Wine, BAFA, and the upcoming BRAVE Festival in October 2025.
In 2024, Daniel founded Testing the Mic, a monthly community platform for emerging performing artists in Bradford, a space where poets, comedians, and storytellers can test their voices, refine their craft, and connect with an audience. “Bradford gave me a new stage,” he says. “The least I can do is help others find theirs.”
A Vision Beyond The Spotlight
Behind the lights and laughter, Daniel is an artist of purpose. His storytelling is driven by empathy; his comedy, by connection; his poetry, by reflection. He’s received multiple recognitions for his creative contributions, including the Behind the Scene Hero Award at the 2025 BAFA Awards, affirming his growing status as a cultural leader and creative architect.
As Bradford steps closer to its year as UK City of Culture 2025, Daniel’s voice feels essential, a reminder that art is most powerful when it bridges people, histories, and dreams.
In him, Bradford has not just found a performer, but a pioneer, one who sees art not as a performance to watch, but a world to build.
