My marriage to Abiola was a wrong move----Clarion Chukwurah
Perceived by many as wild, and a gold-digger, she sounded all down to earth and extremely reasonable in this interview.
Last year, precisely on Valentine’s day, you entered into another marriage after separating from your ex-husband, Tunde Abiola, younger brother of MKO, who many thought you married in the first place for the money. What ended that marriage and necessitated the new one?
Yes, people did think that I married my ex because of the Abiola name and the money. But it is a lie. I do not go into relationships because of money. I am from a solid background. I do not come from a poor home. Being the kind of person that I am, I believe in working to earn my own money. So I feel proud when I am spending my own money. I feel belittled when I have to ask or beg for money. It is hard for anyone to believe that I was in a marriage for nine years and in all those years I was not given anything. I am a strong person and that was my saving grace, an ordinary person may not have survived the pressure. I am not one to chicken out easily on people and circumstances.
At what point in the marriage did you realise that it was over?
I knew it was a mistake from the very beginning, in the very first year. But being such a dogged fighter, I tried to work things out, to the best of my ability. I gave him my all, my pride. But by 1999, it became clearer by the day that the relationship was destined to end, but I kept postponing the date. I even became a born-again Christian to salvage the marriage. Then in 2003, eight years into the marriage, I knew it was finally over.
Would you then say that God didn’t hear your prayers?
He did hear my prayers, but in his own way. God only helps those who help themselves. God does not come down from heaven to help you, He uses other human beings to help you. He sends us ample opportunities to help ourselves, but if we throw it away, whose fault is it?`
Are both you and your husband divorced, because there was a cry of wolf by a supposed wife of your husband?
I have a divorce certificate, I also have a decree absolute which means that if you are caught in the other’s house, then you have committed a crime. My husband is also divorced. So I do not understand the woman’s problem of clinging on when it is so clear that you have lost out. If a man walks out on me and I do not even have a child for such a man, he will stay out for good and nothing would ever make me take him back.
Were you ever broken-hearted?
I am a realist, and, as such, could not be broken hearted. At the time I got married in 1995, I was a grown up of 30. That you get married out of love, does not mean that you should not use your head as well. As the years roll by, the love is either aided to grow or to die. So if I was in there for nine years with nothing to motivate the love to grow, then it was as good as dead.
I waited that long because I wanted to be sure that God would santion my decision. Spirit filled people like Pastor Bimbo Odukoya of the Fountain of Life church and some others from the Redeemed church advised me and helped me to get my act together.
Now what lessons are you taking into your new marriage?
As far back as I can remember, I have had the picture of the kind of man I wanted to get married to. The first person I got married to was not the person for me. Then, about that time, Shina Peters was there taking me to the cleaners so, from the home-front, there was pressure for me to settle down to get him out of my life. That was what led to the first marriage. But by the time I made up my mind to move on, I was thinking of my life and that of my children until I met that man who is the picture of everything I ever wanted. I am not just talking of the physical, but the inside as well. He has a heart, has seen it all and understands where I am coming from. He understands my wants and my fears. Communication is the greatest tool in making any marriage work. Now I have a man who not only communicates with me, but there is so much laughter around me.
Now tell me about acting. How good has acting been to you and how rich has it made you?
Acting has been good with me.I am a natural actress. My career is a testimony of this fact. It is the very best thing I have done in life. It gives me satisfaction and joy. It has made me relatively comfortable. And since I am not essentially an extravagant person, I am able to live within the limits of my pocket.
What determines the scripts that you accept?
I must be totally comfortable with the script. Where I am not, I simply do not do it, and no amount of money can convince me otherwise. There is no way I will let anyone put me in a bad movie so that it can sell. I could do a role for less of my standard fee just for the love of the script, a good script.
What kind of person are you?
It will shock a lot of people to know that I am a very private person. I have always been this way. I am blunt and straightforward, I say things the way they are, exactly as I feel them. But people are entitled to their opinions.
By Adia Ukoyen
Discipline is the key to professionalism---Tunde Adeyemo
What is PEFTI, and what does it aim to achieve in the industy?
PEFTI, simply means The Pencils Film and Television Institute. It is a private institution. In a very simple sense, PEFTI is the best thing that has happened to the dream and aspiration of fresh talents and amateurs, in the quest to fulfil an inherent and live ambition. Hence, destiny has brought these seekers of professional knowledge to the doorstep of success; in the embodiment of the most valuable and apt institute,painstakingly established to train both fresh talents and amateurs in both television and film productions.
As you will soon discover, PEFTI is essentially established to create, for a long time to come, a redirection and dedication that would furnish their ability and experience in the way of knowledge. Therefore, PEFTI considers it a duty and a privilege to follow the principle to which it has committed itself.
As a student of acting,cinematography, presentation or editing they must within different combinations and permutations of problems conceive materials for their inner creative work. They must master the ability to visualise their work and to express that visualisation with the required technical control; they must give attention to the intellectual understanding, in order to decipher their chosen course of study and its interpretation.
This way, PEFTI will not only be able to bridge the gap between mediocrity and professionalism,but guide their quest for a proficient and guided professionalism. Our professional courses cover a wide range of television and film disciplines.
Why all this? What you find out there is a mockery of what the industry is supposed to be. This is the only profession where you find anybody, who finds it hard to attain his or her goal, surfacing here. The industry is more like a dumping ground. Somebody just wakes up, and while waiting to get admitted into the university, he wants to play a little game with the film and television industry. But then, when you look at it, they are not exactly wrong, though in itself, it is wrong.
If we look at how our traditional set-up evolved, be you whoever you were in those days, music and dance, the arts, has always been a part of us. There was always entertainment of some sorts which was open to all, and usually brought people together. Moonlight tales, folk stories and dances, these were all forms of entertainment and relaxation, which was bonding. And you didn’t have to be an artiste to be apart of it all. Don’t also forget that we black Africans, our cultural heritage is still there. So it is the only profession, so to speak, that has over the time had claims to knowing how to execute it well, without necessarily getting it right. And so, our artistic endeavours are not too far from our cultural heritage. It seems as if everybody feels that one way or the other, everybody feels that he or she can do something in that field. But now, it is a professional thing. Like I said earlier on, it is so sad that it has become a dumping ground of sorts.
At what stage did it become a dumping ground? Even in the days of Papa Ogunde, who used family members as well, I understand that they got some sort of training or the other. So what then has necessitated this trend?
At that time, you had people who were serious minded. People who sought knowledge. Some had to fight, even with their parents, because it wasn’t paying then. So, for you to find anybody going into it, meant that the person had a love for the profession, and to learn the art of film and television, in any ramification, meant that there was a true love for the art. But now, almost every Nigerian believes that another way to make money or another terrain for money making is the film industry. And so, all eyes are on the industry.
So what is PEFTI doing about this or what does it intend to do?
We are here and we must accept you, right, so we have taken it upon ourselves to help train those who are genuinely interested and have the talent.We guide them. Like the first week here, it was an orientation week. It was a week of intensive orientation. What was the orientation about? One, to guide into what film and television is all about. To disabuse their minds against the erroneous impression they have before coming in. Take for instance, a man who says that he can never allow his wife act against another man as his wife. Or a girl who comes in for acting, but secretly, wanted to be a presenter for some unsaid reasons. At the end of the orientation, she came back to say that she that she had rediscovered her dream. I have sited an instance before where I played alongside a lady as my wife, but off set, we did not speak to each other, but every week, we were on set as husband and wife. We did it so well that nobody could believe that we were not on talking terms. This means that an actor is using his body as an instrument, and these the amateur does not understand. And all these need to be cleared. You don’t just come in here because you want to be an actor. Why do you want to go into acting for instance? Many are in just for the fame and glamour. So here, we are saying that you do not need glamour. There is what you call professionalism. The stereotype thing going on in the industry is bad. You find someone who can cry, and everybody uses the person. The minute a better person is found, the other is dumped. This only happens with people who are not trained.
But that could also be the problem of an untrained director and not necessarily the actor.
Yes, some of the directors have that problem. Most people got into film and television production because they had the money. And then, it was an industry that was booming. But we must also give them kudos. I believe that we also learn on the job. You do not have to go to the university to be the best. Papa Ogunde was, and up till today, is a legend. There is no way you can wipe out his name from film and theatre in this country. He taught discipline, and that is the key to professionalism. He was beaten up, locked up, in those days for the things he loved to do and did, and he will never be forgotten for them. And with consistency, he overcame them all. Then, we had people who had aims, genuine ones for taking to film and theatre performance. Now, it is all about the money. Nothing is done well. So, why not do it well. We are to educate the audience, the viewers. The viewers we have today, are not the viewers of say ten years ago.
They are more critical now, they only need to watch a film to tell you what is wrong, they are not stupid. But beyond being entertained, there is also the need to pass correct information and then educate the viewers.
Now, why do you put up these films? As a work of drama, you are trying to give back to the society what you have found seemingly in need of correction. That is something is wrong. Or if it is right, you want to appreciate it. But whichever way you look at it, you are like a mirror. And in representing what is already in the society, you need to do it well. You need to be highly methodical about it so that you do not misinform the society, and also, add more to the problem. Even now, we are trying to contact some religious bodies. Fine, you are in the church, you have the talent, there is nothing wrong in having the talent. In fact, it is the first criteria. But you need the knowledge to carry on. Working for God is good, even the man who stands on the pulpit, is doing a good job.
- To be continued
I met my wife on set---Ejike Asiegbu
Ejike Asiegbu, a young man from Umuihi Eke-Oba in Umuahia North of Abia State, sure have spent over 20 years trying to keep his head up in the film industry Henry Okey Anyanwu spoke with him recently on the journey so far and why his wife is not acting and more.
Could we take a peep into your place of birth please?
Why not: No big deal, only that my village Umuihi, Eke-Oba in the today’s Northern part of Umuahia of Abia is the same place Bright Chimezie and late politician Michael Opara came from. Any way people like serving and making other people happen?
What of your academic background in brief?
I was in the East. Had my secondary school in the North, came to the Institute of Management and Technology (IMT) for my A’ Levels and subsequently an OND, between 1985 and 1986. I proceeded to acquire a Certificate Diploma in Theatre Arts. And later made it with a Degree in Acting and majored in Directing from the University of Port-Harcourt in 1993.
A lot of Showbiz followers in the film industry say besides your acting skills, you like activism so much and all sorts of fights when you don’t like what is going on. Where did you get this fighting spirit?
From school, Uniport. I hated injustice, at school. I was the president of NANS at my time and I left no stone unturned to make things right. We fought injustice to a stand still and all the students were always comfortable with my spirit to challenge injustice and its likes.
Why were you not in Nigeria’s supposed first home-video “Living In Bondage” when all the guys you started with at Enugu, like Kanayo O. Kanayo, Nkem Owoh and the rest featured in it?
I was in school at Port Harcourt. You know school runs now, it didn’t allow me at that time. You know I’ve always been a T.V. person, I was in the programme “Beyond The Realm” written and directed by Uzo Amadi in the early 1980’s, myself Nkem Owoh, Kanayo O. Kanayo. We all took off at the same time. My own acting mentor was Amayo Madukwe who even at the I.M.T. Enugu before I moved to Uniport, gave me the support, drill and courage. It was during my final year at Uniport that the film “Living In Bondage” was shot. That was why I wasn’t in it.
Any other T. V. experience while at Enugu in those day’s?
I took part in “Bassey & Company” directed by Urel Worike. I was in many episodes of the “New Masquerades” produced by Chris Obirapu. I think he directed too.
Is it correct that you often rejected to take part in some films after being cast, why?
I’m a different person. I’ve gone through rain and sun my man. T. V., stagehand, now film and movie. I’m a man of respect and principle, I hate people who cheat. Yes I’ve been often cast to take part in lead roles but when it comes to remunerations and payment, they will be belittling the artiste. I personally fought them to a standstill when I finally left school to become a professional. I rejected the contract because I did not like what they were offering. I made sure my colleagues followed suit in my fight and today, actors and artistes earn good pay because of all these fights. And up till this moment, they all call me to acknowledge this seed which I sowed.
Which film was your first major hit that brought you to the lime light.
Oh… Gabosky’s “Nneka” the Pretty Serpent part 2. I played Papa Ife and it was my first hit entry appearance in home videos in 1994/ 1995.
Any other hit appearances before finally getting lose?
So many “Venom of Justice”, Bruno and The Law”, “Day Break”, “Bread of Deceit” “Abuja Boys”, G.SM. Connection. But having featured in over a record of over 100 hit home videos, I think Kenneth Enebue’s “Rituals” directed by Andy Amanechi was one of my best. The film was a classic.
With all the name you made in “Issakaba”, a lot of people felt that is your best film so far, what is your opinion?
Not like that my man. People have come to accept me with different films, and you will be surprised, most choose other home videos to be better then “Issakaba”. It is a matter of choice.
Ejiks, what gives you the edge in these roles which you play perfectly well?
A lot people think its my frame, height weight, no. What of my carriage? That is my high point my brother. I do every role in a film with a great sense carriage as if I’ve not acted before then. That is the spirit.
On a light note now, are you married, how are you coping with female admirers?
Happy married my brother. Infact I met my wife on set of the film “Pregnant Virgin” where she was part of the production. Then she was a student. I saw she had all the qualities to be my life and today we have 3 kids.
But some people will think you stopped her from acting, after getting married to her, why?
Not that way. When we met she was an OND Student at Oko Federal Polytechnic, and by the time she went back to finish her course, Marketing and came out with the HND, she had a different focus on what she wanted. And because she read marketing, she preferred being a business woman, that is all.
Stella Damasus Aboderin back on the block?
By Adia Ukoyen
Hush was the order of the day, followed by murmurings, as Stella, the widow of the late Jaiye Aboderin stepped out as compere at the launching of True Love West Africa, at the Lagoon Restaurant, Lagos, same place where her husband died after a game of basketball.
Dressed in an all-black ensemble, with a scarf on her head, she looked extremely beautiful and innocent, save for the fact that she had lost quite a bit of weight. She went about the job so professionally, that someone whispered if she was truly only just bereaved. Beside Olisa Adibua, she simply glowed. She showed no signs of her inner heartaches, giving credence to the fact that she is a damn good actress, in fact one of the best in the country today.
The young Stella became a widow on the night of the 3rd of December, 2004, when her husband, Jaiyejeje Aboderin, slumped and died after a game of basketball. In September of that year, she completed one of her last jobs, on the set of Widows, a film in which she played the part of a widow so convincingly that all her colleagues could do was stare at her in amazement and awe. The film had Agatha Amata as Executive Producer and Vivian Metchie as Director. In one of the scenes, she cried so much that she actually fell into a gutter in Idi-Araba that had filthy water in it. Even after the director had called for the scene to be cut, Stella just continued to cry and cry. Two crew members had to lead her away to a quiet place to recover, and one of the remarks then was that she could kill herself if anything happened to her husband, not knowing that in matter of months, she too, was to become a victim.
In December, Synergy Band, a band she co-owned with her husband, had played at a gig and were at the receiving end of criticisms from the public, over their outright disrespect and lack of sensitivity towards Jaiye, who they claimed had just died. What the same ‘public’ refused to note was that these people had lives to live and so had to earn a living, same for Stella.
On the 15th of January, she was on stage with Synergy band, where the band performed at the Diamond Bank New Year staff party, she sang from the hours of 7pm till 1am, an this action of hers drew the ire of guests at the occasion.
As at the time of the True Love launch, she had observed the mandatory 40 days period of mourning, where she is not allowed to step out. With that behind her, she needs to earn a living, for herself and her two girls. It should be recalled also that she was one of the big five who got slammed with a one year ban by marketers, and so, cannot act till further notice. So, if Mcing will earn her some money, why not? Her colleagues who suffered the same ban fate like herself are beginning to find alternative careers; some are singing, others, writng, so why not Stella?
But the question remains: Isn’t it too soon for Stella to be out partying?
Afro Hollywood comes with goodness for Nollywood
By Adia Ukoyen
Michael Abiola, publisher African Voice, London, foremost weekly newspaper, with a special focus on Africa, and chairman, WAFEST; West African Film Arts and Culture Awards, organisers of the Afro Hollywood Awards has arrived in the country from his London base, to initiate preparation for the tenth anniversary of Afro Hollywood.
He will also seize the opportunity to announce the Afro Hollywood investment fund for script writing. The fund is aimed at building long term relationships with creative talent, from first time filmmakers to experienced practitioners. This will not only support the development of commercially attractive screenplays, but will help facilitate the production of viable films.
An Afro Hollywood mega plaza is to open this year in London, and will give African film makers the opportunity to screen their movies before they are released on video, CD and DVD. There will be a cash gift of £5,000, this year, for an outstanding artiste.
Last year witnessed the introduction of the Stanley Anyanwu £15,000 Voucher and the winner of the award was Nkem Owoh for his role in Osuofia in London. This year the stake is to be raised to £20,000.
Other plans for the anniversary packaged include an interactive programme on television for viewers to nominate this year’s winners out of a total of thirty nominees. Incentives for viewers shall include return Lagos-London tickets for five fans to attend the Afro Hollywood in London. Fifty fans are also to receive twenty-five thousand naira each and GSM recharge cards and one hundred others to receive five thousand naira each and recharge cards.
This year, the Afro Hollywood will hold in Nigeria to announce to viewers the final ten receipients to travel to the UK for the grand finale. Right now, discussions are on award ceremonies with top African American film stars, casting directors and producers to visit Nigeria. It should be noted that Afro Hollywood was instumental to the BCC\Nick Moran trip to Nigeria in 2003. The trip by Mr. Abiola will enable him to finalise details with the banks that will administer the investment funds and the television stations that will run the TV programme, and the GSM provider that will provide the interactive service. He will also discuss with companies that will benefit from the immense publicity this programme will generate for brands. .
Hollywood’s digital moment:
A welcome revolution
Nollywood may have discovered the future of movies. It’s digital video, observes John Andrews, the WEST COAST EDITOR of The Economist.
Ignore the paparazzi-thronged Academy Awards on February 27th. Of course Nicole Kidman’s latest Oscars dress will grab the headlines. But behind the headlines the important story for the movie-industry in 2005 will be the long-awaited switch from delicate, perishable 35mm film to the computerised world of digital bits and bytes. “Switch” is actually the wrong word. It costs more than $100,000 to convert a cinema to digital projection - which means the world’s movie-houses are not all about to install digital projectors overnight. But with cinemas around the world, from Britain to China, making the change, digital advocates can talk legitimately of 2005 as a tipping point in the evolution of film-making. There are presently around 300 digital screens worldwide, by the end of 2005 there will be around 2,000.
Three factors are driving the process. One is the enthusiasm of some of Hollywood’s leading film-makers. George Lucas, of “Star Wars” fame, has been preaching the digital message for years. His 2002 movie, “Star Wars: Episode II - Attack of the Clones”, was the first to be shot entirely on digital video - even if it then had to be transferred onto 35mm film for most cinemas to show it. Michael Mann used digital cameras to shoot the Oscar-competitive “Collateral”, starring Tom Cruise. Andrew Adamson had a huge, digitally made hit for the Dreamworks studio in 2004 with “Shrek 2”.
Success will breed success; among the digital releases for 2005 will be “Star Wars: Episode III - Revenge of the Sith”, Warner Brothers will have released “Phantom of the Opera” in time for the new year cinema screens; and in May Dreamworks will release “Madagascar”, in animated film in the style of “Shrek 2” (a “Shrek 3” will also be in the works, for release in 2006).
The second factor is money. Making a movie with film can be hundreds of times more expensive than with digital videotape. Shooting multiple takes gobbles up film, and the film has to be processed before it can be viewed. By contrast, digital tape can be edited on the spot and used again and again. The producers of “Attack of the Clones” reckon they spent $16,000 on 220 hours of digital tape; if they had used the same amount of film, it would have cost them $1.8m. Moreover, in the traditional world of film there are other costs to add to the bill: each print of a film costs $1,500 - and it deteriorates with scratches and dirt every time it is run through a cinema’s projector. With the average movie now costing over $90m to make and market, it is little wonder that the Hollywood studios are so often risk-averse, preferring sequels and copycat films to anything truly original.
Whether the lower costs of digital film-making will encourage more creativity from the big studios is an open question (after all, they belong to industrial conglomerates where the bottom line counts for more than the artistic elan). What is certain is that the world’s independent film-makers will have a better chance to blossom. As Mike Figgis, an Oscar-nominee in 1995 for “Leaving Las Vegas”, said at the 2004 Venice International Film Festival: “The future’s digital, without a doubt. I f***ing well hope so, because if the economics of production are not in the hands of the artist, I’m not interested in cinema anymore.”
And the third factor? Quite simply, film is the odd-man-out in the digital world of the media conglomerates that dominate the movie business. It makes sense to hedge the corporate bet on a film by releasing it not just for the cinema screen but also for the DVD player, the TV screen and the video-game - and, in some not too distant future, the hand-held-cell-phone or personal organiser. All that can happen more easily if the movie starts off in a digital format.
But while digital cinema will come of age in 2005, it will still have its problems. One, shades of the VHS and Betamax conflict a generation ago, will be a battle between Texas Instruments (the market leader) and Sony over digital-projection technology. In addition, some purists reckon that digital tape will fail to match the nuanced texture of film.
The biggest problem, however, will be the risk of piracy in a digital world where every copy is perfect. Even with celluloid, the American film industry loses $5 billion a year through illegal, but far from perfect, copying. The urgent task in 2005 for Dan Glickman, the new boss of the Motion picture Association of America, will be to ensure that in going digital the film industry avoids the losses suffered by the music industry.
In the meantime, spare a thought for the megastar. With the exception of Tom Cruise and a few others, no actor will be able to extort fees fo $25m a film. Those wages could be justified for a film budgeted at $100m, since the star could attract investors by guaranteeing (in theory, if not always in practice) also to attract the audience. It was one way, albeit an expensive one, of lessening the risk of cinematic flop. But with a cheap digital movie, any flop will be by definition less costly - and the studio will have less need for a megastar. Clearly Arnold Schwarzenegger, once the highest-paid star in Hollywood, moved into politics at the right moment.
- Culled from The Economist: The World in 2005
Comedy should be scientific----Chris Obi-Rapu
Chris Obi-Rapu is a foremost filmmaker and ace director. He returned in the country last year to start a new project called LAFF OFF. In this interview with Adia Ukoyen, he tells us his plans for the new project.
Since the days of Taboo to New Masquerade till date, where have you been and why the long absence from the industry?
After Living in Bondage, I shot Taboo before I left in 1995. I have been living in the US, and have worked in the television industry there, and now have a communication company. But all the while, I was working on some film productions and on some television productions. I was also learning too. I went back to school to do film appreciation in the US. I also did public relations in Minnesota. After having been involved in production here in Nigeria, there was the need for me to go and do film appreciation, public relations and marketing. I have kind of increased my knowledge in film making and the marketing aspect of it. So I am back, trying to do some experimental thing. The last time I was here in October, I did Laff Off. I did it because I am trying to change the direction of comedy. In the US, I worked on a lot of comedy things and the comedy world in general. I was talking to someone about putting him on video and he was talking about his work being stolen. But you see, if we had comedy clubs in the country, I have found out that some of the jokes of years passed are still being used, recycled to use, and this means that nobody is sub-searching for them, nobody is writing for them. It is not as if there were no Yoruba or Igbo videos in the market before Living in Bondage was shot, they were there but were not professionally made. It took the making of Living in Bondage to change the direction of film making in the country. So, we want to change the direction of stand-up comedy too, and comedy. In the world today, there are more of the stand up comedians, and they are now the ones doing the comedy. Comedy is based on what they speak, not the action. The age of Charlie Chaplin is gone, just like the age of Ojo Ladipo. In those days, they used so many odd things, like Aluwe putting on a big watch or wearing a lot of clothes. By now, comedy needs to be scripted, needs to be written.
When you say scripted, does that apply to the stand-up comedians too?
Even for the stand-up. Which is what we tried to do in laff off, which I intend to do in Hausa and Yoruba, but it all depends on the outcome off this one in Igbo in the market.
Are you then a comedian?
I am not a comedian. I am just a film maker. What happens is that you pick up a field. There are a lot of films made daily, and if you have to be a reckoning force in the market, you have to carve a niche for yourself. So I feel like working in the comedy genre because I worked on New Masquerade for some time, and realised that comedy elicits laughter.
What exactly did you do with New Masquerade?
I was the director. I put it on the network service.
Can you compare the New Masquerade series with what we have on our television today?
New Masquerade was more of comedy, but it caught the attention of the viewers because it commented on social ills and the general state of the nation. It was like a man behind the mask. Chika was the one that delivered the social commentary, face the camera and begin to talk directly to the camera. If you look at Bonny, and his new comedy, the guy plays with some children living with him, and at some point, turns to face the camera and begins to run commentary. New Masquerade was like this. It came at its own time and played its own role. If that programme were to come again, without changing it, it would be a big mistake. Now what is happening is more about what the comedians say that pulls the laughter, not because you frown your face or you dye your hair black or white. It is all about what you say. Comedy needs to be taken beyond mimicking, it should not end at trying to sound like a Warri man or a Calabar man.
But comedy seems to be the in-thing and comedians are all doing well, at least the established ones.
Yes some of them are doing well.
You are using Nkem in your work. Must he always be cast as a clown? Or is it a comedian? Can he truly be called a comedian? Who then is a stand-up comedian and the actor who acts comedy?
We are only trying to show the scientific way of doing things. The actor, first and foremost, is supposed to be someone who delivers the lines written for him. Now, he can personalise those lines with his movements. If an actor can deliver laugh lines, this is the best way. If you now deliver it well, you become a stand-up comedian. Stand-up comedy is more of social commentary than just telling jokes. We are still telling old jokes when in fact we should be picking up fresh jokes, and in actual fact get people to write jokes for you. In Europe and America, there are comedy clubs. If I come to your club everyday and you keep giving me the same jokes, I do not have to buy it from you. Bob Hope, at the height of his career had about fifty writers who were writing for him. And they were supplying him with one hundred and forty jokes a day. So, if you have one hundred and forty jokes to pick from everyday, you cannot be caught napping. It is always fresh because some people are researching. Nkem maybe seen to be running around the comedy world because all he has been doing has been ad lib. When he started writing for New Masquerade, I used to edit his scripts. So we learn by practise, and that means that I could write for him and he will still deliver.
You were telling me about your new project, LAFF OFF, what is the idea behind it?
We want to make Nigerians to be able to laugh. A good laugh is very beneficial to the system. A good laugh is like ten minutes on an aerobic machine. If you laugh, you will reduce tension. People are all up-tight, after the day’s job. So coming home to relax to a programme like Laff Off is highly beneficial. So I am looking at a family oriented programme, and this fits the bill. That is why we are bringing it in Igbo, hoping that the Yoruba and Hausa versions will soon follow. So first week in February, we will be hitting the market with the work.
You are only but using the regular Igbo clowns, couldn’t you have found other people?
The basic thing is to draw laughter, using those who can deliver the lines, saying specific lines. Because the idea is that if we do it every month, it will not be the “I have had it all works. It will be fresh because we are researching and it is written for them.
How would you describe the growth of the comedy industry?
When John Chukwu was alive, he had a programme he presented called Weekend Special. He had jokes, but he had to begin to repeat jokes. But after we had worked with him for a while, he realised thee programme could be written, with fresh jokes. That was how comedy was born. When John died people like Bisi Olatilo, and the others came up. But speaking of present day comedy, Opa Williams is a don. He brought up all the present ones like Alli Baba, Okey Bakasi and co whoare very good. So it is growing, but I want to infuse the scientific method of doing things. We want to do the new thing, where if you see Ali Baba, you know that he has a team of at least ten people who are working for him, so that he is always fresh. This is the scientific method.
Winnis... Where movie stars...
Dressing up for the set is one hell of formality. But far away from the consciouse induced camera light is that rendezvous where the guys and dolls of the movie industry undress their real selves with a youthful mind.
Winnis... you can’t miss it, when you find yourself driving around Kilo in the Surulere area of Lagos. It indeed may not be anywhere close to the five stars, but defintely has a long standing affiliation with the who is who in the Nollywood.
Call it a casual joint where artistes fraternise or a market place for artistes and producers seal one deal or another, and you are just right because the movie duds have developed an old habit of retiring to the area, each day after their official National Theatre domain.
Therefore, with such customised hangout, it becomes obvious that the source could no longer accommodate the growing number of up-coming artistes on a daily basis and given this reason, Winnis has naturally grown into that gigantic metaphor, sharing its monopoly with many other bars across the length and breadth of the areas, causing human and vehicular traffic, beginning from sunset.
Delta State born Enebeli Elebuwa, godfather of movie deadly gangster was looking as solemn and deadly over a bottle of beer across the road when Nollywood dropped by and his first statement to God knows who it was as domineering as it was sarcastic, in Yoruba” “Too ba lo, n’o da seriah fun o” meaning “If you move an inch, I’ll deal ruthlessly with you. ” This was a joke, but rendered in his stern movie character. He was awaiting on appointment.
The fun continued, laughter, side talks and salutations prevailed as more and more arrived and just in another corner, Sam Obeakemhe who began his movie career with “Ripples” a soap opera which was followed by his first movie performance in “When the Sunset” a hints magazine story produced by Opa Williams. He was placing an order for a bottle of beer.
He spole to Nollywood about his intention to lead the affairs of the Actors Guild of Nigeria (AGN) Lagos Chapter, great emphasis on the word “Serve” as he is quick to let anyone know he has no intention of becoming a ruler.
Ask him why and he goes to define the AGN, as that body of movie artistes that agree to function under one umbrella with emphasis on addressing abnormalities.
What abnormalities? Obeakemhe, a founding member of the body alongside people like Ifeanyi Dike and registered with the Corporate Affairs Commission in 2001 likes to see things happen. Worried that most movie artistes hardly get jobs to keep them going, he feels disturbed why they should be made to pay monthly dues.
Therefore if elected chairman of AGN, Lagos Chapter, an acclaimed money spinning state, Obeakemhe would introduce: a “pay as you work” dues for the artistes, ensure that producers don’t take advantage of the artistes however young or naive they might be.
Ask him why Winnis has become so habitual, he sys though not an official place for artistes, the National Theatre is not secured after 5pm even though hanging out at Winnis is at their own risk.
Within the same chillout ambience was solo music star, Daddy Fresh, a friend of the movie guys but this time to catch real business, after his last album: “Thank you Jehovah” in 2004 which won about 12 awards, the handsome Ajegunle musician felt it was high time he brought out a documentary on his music career, at least to put to rest so many questions about his person and profession.
And thus Winnis comes handy as the spot to catch movie artistes he intends to feature in the documentary especially for the segment on public opinion and actor Enebeli Elebuwa was no doubt one man he considers credible enough for the show.
Posing with his group, comprising Voombastic Uncle P., Saucer Rhyme, a rap-sing artiste, Daddy Ital, music/movie director, Obinna Olawa a.k.a Obino, as film editor and co-director as well as Jerry Smart.
Following this documentary expected in February, Daddy Fresh’s new album “Won pa ri wo” (noisy music) is expected to challenge artiste to deliver message rather than lyrics and check monotony of instrumentation.
By Victor Akande
The real world of actress Cecilia who murdered her boyfriend
... how she did it
She can be aptly referred to as an actress, mother, prostitute and a murderer. Yes, she killed a fledging young man and she owned up to it. For her action, she will sooner or later face the hangman’s noose.
Rabi Ismaila is a Kano born film star who two years ago took the make-belief world of acting to reality. Or the reverse might have been the case. But one thing for sure is that she has become much more popular with her travails now than she was then in the kleighlight contributing her quota to the Hausa film genre.
Born about 32 years ago, Rabi, widely known as Cecilia in the film industry actually craved for fame,popularity and the glamour that goes with the limelight. And so far, she was on the verge of meeting her heart’s desire when the unexpected happened. She became a willing tool in the hands of the devil and murdered her boyfriend, Auwalu Ibrahim, a.k.a Zozu sometime in December, 2002.
It would be recalled that a Kano High Court presided over by Justice Halliru Abdullahi Mohammed on Thursday, January 6, 2005 condemned Rabi to death by hanging for the murder of her boyfriend, Auwalu whose chocolate she poisoned before pushing him into Tiga Dam where they had gone for a picnic to drown. The sum of N10,000 was removed from the late lover’s pocket by her too before she pushed him into the dam to die while he was writhing in pains. This much was contained in her confessional statement.
She was condemned to death in accordance to section 221 of the Penal Code after circumstantial evidence before the court based on nine witnesses’ account which corroborated with each other. She even declined advice for her to take advantage of the prerogative of mercy powers of Governor Ibrahim Shekarau to seek leniency thus betraying her lack of remorse for her action. She also refused to seek mitigation when requested to do so.
Now, to the bombshell. “I am ashamed of you. What is it afterall? With or without the sentence, death is an inevitable end for all human beings. Don’t cry for me because everyone will die one day”, she screamed at her younger sister who cried uncontrollably when the judge pronounced the death verdict on the actress.
A naturally restless young lady, going by testimonies of some of her colleagues and friends Nollywood spoke to in the course of investigating her past, the culprit was always involved in the disappearing act after every flip she partook of. And besides, she was said to be in the habit of quarrelling with other artistes even on location. Little wonder, when the news reached her colleagues that she had snuffed the life out of Auwalu, who informants told Nollywood was a politician, it was nothing of surprise to them.
Though, none of those in the industry could tell how many flicks she has actually acted, it ranges between three - five films, Rabi Cecilia was however said to have played lead roles in three of them, namely Aya (Divine Understanding), Tsumaigya (which literarily translates to something like Hunger or cane not being a respecter of anyone in Hausa language) and a third flick which is a comedy and her best act to date where she played an old woman.
It is on record that Sani Rasheed, a producer and present chairman, Film Makers Association in Kano gave Rabi her first break far back in 1994 when she was introduced to him by another colleague in the industry, Sani Musa Danja, popularly known as Sani Danger.
He revealed to Nollywood that when Sani Danger who played Babangida, the lead character in the very successful film, Jan Junne (Awakening, in the local parlance), a flick to discourage unprotected sex and publicise the HIV and AIDS prevalence sponsored by Family Health International (FHI) and funded by the United States Agency for International Development (USAID) brought Rabi to him, he assessed her and saw her good enough for Aya, the production he was working on at that time and subsequently gave her the role.
The producer said he didn’t see her again until about one and a half year late when she reappeared and sought another job. He told this writer that because he wanted to encourage her since she was good, he featured her again in his film, Tsumaigya.
Surprinsingly, she melted again into thin air after her second flick and the chairman of the film-makers never laid eyes on her again until about six months later when she came to demand another role.
He complained to Nollywood that though he was emotionally linked to her, albeit professionally because she was good and wanted to encourage her, she obviously became uncooperative. He averred that he advised her to formalise her registration into the mainstream Actors Guild so that she can flourish in the industry, but she refused.
“All efforts I put in to get her registered into the mainstream Actors’ Guild met with brickwall. I even gave her the registration fees of N500.00, she collected the money and disappeared. I did all these to encourage her and for her to settle down.”
However, about two years later, Rabi Cecilia resurfaced once again demanding to be patronised, a request Rasheed rejected since she was yet to be registered. He explained to Nollywood that the essence for insisting on her following the laid down rules and regulation of the guide which includes a must registration of the stakeholders is to sanitize the industry and not make others feel that they are law breakers.
“You know, we try to sanitize the film industry in Kano. We don’t want a situation where married women or even single girls without the approval of their parents or husbands will be featured in our films,” stressing that there were cases producers have been embarrassed for giving acting roles to these women without strict permissions from appropriate quarters because of the socio-cultural and religious attachment of the people.
Furthermore, the chairman of the filmmakers sounded out that after another long absence which lasted some two years after which she sought a role and was turned down, she vanished only to return six months later for same purpose, “that was when I finally estranged myself from her”, Sani Rasheed told this writer. He added that this was the last most actors, producers and directors saw of her until late December of 2002 when they heard on radio that she had been arrested for the murder of her boyfriend.
Sani Danger who Nollywood met on location directing his upcoming work also confirmed the restless nature of the film star even though she was gifted in the trade. According to him, he gave her the in road into the film industry. He said her husband at that time, in 1994, a police officer (name withheld) who was a friend of his prevailed on him to introduce her into acting. Rabi’s husband had told Sani Danger that she would not let him be except he helped her achieve her dream of joining the glamorous world of acting. And that was how he first met her.
“I knew Rabi through her husband at that time, a friend of mine who is a policeman and an MCee in occasions. He used to be very good at compeering ceremonies and very popular within and outside the police circle. He was her second husband. You see, he begged me to introduce her into the industry since I am the only one he knows closely that can bail him out. That was how I took him to Sani Rasheed who auditioned and gave her the lead role in Aya, her first film in which I also took part,” he revealed.
The Jan Junne star further disclosed to Nollywood that the embattled Rabi has acted about two more films which he can remember vividly including Tsumaigya and the comic flick both of which he also featured in. “She may have been involved in about five films in all. I am not too sure now. But I know that of all her films, she preferred the comedy film most. You know she acted the role of a very old woman and it thrills her to see herself in that character”, Sani Musa Danger who is also a producer, director, musician and dancer noted.
But why would a young beautiful lady with a promising future ahead of her in the acting business commit such a dastardly and evil action as to terminate someone’s life and still feel unrepentant. Most stakeholders in the industry, especially artists informed Nollywood that they had always dreaded her and seen her as someone with questionable character. Besides, they saw her as somebody with her finger in many pies. To some, she was simply dangerous to associate with and very unpredictable.
One of the stars who acted alongside Rabi in her first two flicks revealed that most of her female colleagues avoided her like a plague because of her queer and dangerous habit. In fact, she disclosed that she was often in the midst of motorcycle riders, popularly called, Yan Achabas and miscreants.
Nollywood equally learned that Rabi is a product of a broken home. While her father lives in far away Yola, Adamawa State, her mother holes up somewhere in Tudunwada area of Kano Metropolis where the actress was born.
She herself has two broken marriages with two kids to the kitty before she entered into the steamy relationship with Auwalu Ibrahim. Many of her colleagues also confirmed that her romance with the deceased, a political mobilizer who relished being seen in the circle of film stars had been topsy-turvy. They were said to have oftentimes been at loggerheads, but the real reason she killed him is still something to be unraveled.
Perhaps, one of the numerous pies which Rabi was said to have her fingers in is prostitution. Sources in the industry disclosed that the period of her absence when she took a walk from the business, she spent prostuting in Sabongari, especially at Abedie street, a notorious haven for prostitution in Kano, just like Ayilara or Obalende areas of Lagos.
“In fact, she is said to have probably picked up the name, Cecilia from the joints in Sabongari. You know prostitutes often times use pseudo-names. That may also inform why she is very popular and at home with Yan Achabas (motorbike riders) and Yandabas (area boys or miscreants) who patronise her and call her Rabi Cecilia. Though, she is a Muslim, in the industry we also call her by that name”, another popular actress informed Nollywood after pleading for anonymity.
The road to Rabi’s present predicament began that fateful day in December 2002 when she and Zozu, her ‘sweetheart’ left for a picnic at Tiga Dam where mainly lovebirds go for binges in the outskirts of Kano metropolis in a chartered taxi-cab. The driver of the cab was under strict instruction to come back for them at an appointed time which became Rabi’s main nemesis.
While she completed her plans, Nollywood findings points to the fact that she had hired a bicycle with which she was cruising as a get-away transport to the roadside where she would have gotten a bus or taxi back to Kano. She was propelling the bicycle herself to the consternation of the taxi driver who, unfortunately for her, was returning to keep the appointment.
She told the surprised driver that the late boyfriend had reasons to send her home to pick up some of his valuables, mainly electronics, for a purpose. Even though Auwalu’s relations were not totally convinced, they allowed her to have her way knowing her closeness to the deceased. They however kept a trail on her and when they suspected somethng was fishy as she could not explain the whereabout of the late politician, they alerted the police which led to her arrest.
So, for two long thorny years, the litigation dragged on before the final decision of the judge, And as she awaits the hangman’s noose, her colleagues have produced a film depicting her deadly action. And, of course, the fate that awaits her. Her mentor, Sani Danger who disclosed this to Nollywood stated that though the film was yet to be released formally into the market, he however had a priviledged view of the promo clips.
By Salihu Othman Isah, Kano
Silverbird in trouble
over “Too Young To Lie”
Theatre and movie director and Nollywood columnist, Niji Akanni alleges an infringement on his reputation by a TV station. He tells his own story below...
Sometime early 2003, my friend and colleague, Mr. Adeoye Bakare, a specialist Film Production Manager, introduced one young man to me: his name, Bode Onadeko. Aspiring to produce a television drama serial on HIV/AIDS management; Mr. Onadeko needed to shoot a pilot episode of the serial to convince his potential sponsors (which, he claimed, was an international funding organization) about the project’s viability.
I was virtually doing my friend, Bakare, a good turn when I agreed to direct Onadeko’s pilot episode. I fine-tuned his watery script, titled “Too Young To Die”. With the assistance of Mr Bakare we assembled a cast and crew of the most professional hands in the industry, including Funso Adeolu, Barbara Soky, Nifemi Richard Bruce and Dr Aduke Imah, all of who worked virtually ex gratis (just as I did) and we shot the drama around Isolo area on a straight run of 18 hours. Before agreeing to do that shoot on a low-end amateur video camera – one of those toy camcorders – I had Mr. Onadeko’s word that the edited work would never be presented for professional/broadcast use anywhere because the technical quality would be dismal.
After the shoot, Mr. Onadeko wanted to go straight into the studios for post-production work but I insisted I had to be present at such sessions, if only to ensure continued fidelity to my directorial vision.
The postproduction work was therefore delayed for another four weeks in deference to my work schedule since I had to be at Saki during that time to direct Anike Obot’s Jogun O Mi, a Yoruba film.
On my return from Saki, I spent five nights with Mr. Onadeko at a nondescript, badly equipped and mosquito-infested “studio” in Surulere, to edit and mix his pilot episode of “Too Young To Die”. We parted ways: he left with his master tape and I went with his effusive outpourings of gratitude ringing in my ears.
The Nigerian film/television industry being the proverbial small world, I ran into Bode Onadeko two or three times over the next few months; and each time he assured me that his project was still on course, that he only had a few administrative hitches to bypass before securing the anticipated funding from his sponsors. I would learn later that he gave the same spiel to every member of the team that sacrificed so much to help realize his dream pilot episode; including Adeoye Bakare, who served as Production Manager and Sola Olayiwola, who was on camera.
Then came August, last year. I began to receive numerous phone calls from friends and colleagues, mostly actors, accusing me of starting a new television soap opera without even giving them the chance to audition for roles. I was not starting or contemplating a soap opera, I tried to assure them; that my project portfolio for 2004 comprised only documentary films and two theatre plays. Eventually someone called my attention to Galaxy Television, Lagos Channel, where a promo had been running for several weeks about a new drama serial which boldly stated my name as Director.
Unfortunately, my own work schedule for 2004 left little time for the luxury of watching television, and members of my immediate family were, at that time, based in Jos; so there was no way I could verify or dispute what I considered only a mischievous joke. Not once did I link Mr. Bode Onadeko and his dream project with the mysterious promo on Galaxy Television: I had even forgotten the title of the telefilm I directed for him!
The yuletide brought the truth. On Sunday, January 2, 2005, about 5 pm, a visitor in my house called my attention to a drama program that had just begun broadcast on Silverbird Television. Titled Too Young To Die, the drama’s Executive Producers were Bode Onadeko and Laide Bakare, the presentation/marketing outfits were named as Multi Vantage Media and Front Row International and the credits ended with my name as co-Director along with one other person unknown to me!
I was shocked and embarrassed not only by the flagrant abuse of trust but also by the total disregard for basic professional ethics confronting me. The presentation on Silverbird Television featured a few scenes from the pilot episode cut with several other scenes of which I knew nothing about. The drama made no sense, of course. The pilot episode I shot for Bode Onadeko was a self-contained story. Now it was deconstructed and reedited to fit into a weakly plotted, silly and incoherent story written by a grossly incompetent dramaturge. Yet the most glaring absurdity of that January 2 broadcast was the conflicting competencies and temperaments of the two directorial efforts (mine and the other man or woman credited as the co-director) I am still baffled how Bode Onadeko and his collaborators at Multi Vantage Media and Front Row International succeeded in talking the programmers at Silverbird Television into accepting this mediocre excuse of a Nigerian drama serial.
Since then, I had attempted severally to speak with Bode Onadeko and his equally sly co-executive producer, Ms Laide Bakare. Neither of them picked my calls, and they did not respond to my mobile phone text messages urging them to redress the ugly situation. I was thus left with no choice but to seek redress through the legal channel. Towards this end, I have instructed my lawyers to animate the machinery of legal action.
I am quite prepared to pursue this matter to the very limits allowed by legal action. This, I hope, will set a deterrent precedence not only against the tribe of hustlers and fraudsters who parade themselves as ‘Producers”. I also hope it will sensitize television stations, production marketing companies and all those who trade ancillary services with Nigerian ‘producers’ to be wary of their contractual undertakings.
• Just as we were going to press, Akanni phoned in to say Silverbird had complied with his request to delete his name from the show but hadn’t published the accompanying announcement he demanded.
It’s a wrap!
Nollywood, a dumping ground?
By Adia Ukoyen
adiaukoyen@yahoo.com
T
he influx of young ladies, girls to be precise, into Lagos, all in the name of becoming actresses is alarming. And when they come into town like that, they end up always stranded,with no relatives or friends to stay with. Then they begin to hangout, at those hangouts where they are sure to meet the stars.
Now, if you ask me my opinion of these girls, I’d beg to be allowed to reserve my comments. In the first place, the few that have come my way are all empty shells. I wonder why they think that a fine face is an express ticket to stardom. Many are not even qualified at secondary level. And before any one can say ‘role’, they would have been passed around more than a good number of guys.
Right now, there is a lesbian gang that is outragiously scandalous. The majority of the players in this gang are these new enfante terribles of Nollywood. What they do is to latch-up to one big aunty who has been around a bit and can make the necessary introductions.
So why the gangsterism? A bird whispered to me that in the day, they are actresses, at night they are no better off than their counter parts on the streets. They also act at night that is but without their clothes on. What a shame!
O’Jez, the hangout of stars
O’Jez restaurant, situated within the premises of the National Stadium is the number one hot spot for Nollywood’s biggest players.
Night in, night out, they converge there to do what they know how to do best, eat, drink, merry and gossip, oh yes! The hottest tales and gossips are told and retold with such great condiments added to the original version.
These gossips are actually treated like the films they act. But the good thing about these tales is that they are kept to themselves unless, of course a sectional fight breaks out within a camp. I have also noticed that O’Jez is clean of daughters of eve. Kudos to the management.
But a new trend is beginning to become obvious.
One guy may walk in with three, four girls, especially on friday night. And when they leave, they all leave in pairs. Classified pairing or is it ‘star mating?”
ANTP Presidency:
Jide Kosoko and Dele Odule clash
Like the English film makers where the Actors Guild of Nigeria, AGN, Members hold sway, the heavy weights of the Yoruba film makers where the Association of Nigeria Theatre Arts practitioners, ANTP, is their domain have all mapped out their own strategies to unseat the presidency of its union held by Adebayo Salami a.k.a Oga Bello in the coming election by March 2005. Prince Jide Kosoko, a Lord in the Shomolu axis of ANTP has vowed to live no stone unturned in the quest to clinch power.
Already, the maverick actor in the United States of America where he has kicked off this campaign among the Yoruba folks why they must support him to improve the lot of all ANTP members. “Kosoko is already in U.S., telling our kit and kin why he must be the person to steer the ship of ANTP for a better tomorrow. He has the weight and experience to prove this point during the election, “his aides told Nollywood.
Other fringe contestants also abound from the Ikorodu, Ikeja, Bariga, (O dunfa) Ebutte-metta caucuses of the ANTP, but the most visible candidate has been actor Dele Odule. Very reliable sources from his camp say, this is the time ANTP has to match up with trends in the English film making in Nigeria if Odule is voted into power. To them Odule has the honour, credibility to bridge the gap among the English speaking and Yoruba home video actors. “Dele Odule a veteran. He is a cross over artiste and well respected. His relationship with the Nigeria English film makers stand him out among the lot. He is the only person that can sanitize all the wranglings at ANTP and at the same time pave a healthy and competition way between Yoruba movie makers and the English ones. He simply has the clout to lead”, his aides chorused recently.
The time is near, which ever way the pendulum of power swings to at the ANTP presidency, one will agree that the calibre of those contesting this time around are quite formidable and crack. With all associations and guilds mostly holding their elections about the time, the results could all be better for the industry in the long run.
By Henry Okey Anyanwu
CULTURE POINT:
Alharga... Another charming poetry of Love
with Olayiwola Adeniji
Email: laideniji@yahoo.com
As we promised a few months ago, we did promise that our intervention in Nollywood will seek to cover other aspects of the industry beyond the Lagos-Onitsha axis so that our readers are given a more rounded view of what happens in this exciting industry. We knew that this was not going to be an easy task but then, it was self imposed and therefore the onus is on us to keep faith with our readers.
Our interest of course is in the north where we have discovered that quite a lot is happening yet very little is reported. In the last edition of Nollywood, you would have read the story Rabi, the artiste who had just been convicted of murder. Well, there is a follow-up in this edition but then it is important to point out that the north does not only make the headlines when there are such gory stories. It could and should make the headlines for the right reasons. And in this case, it cannot be anything but movie-making. In other words, we are interested in projecting the northern perspective hoping that others will join in the debate.
Just as it is with the Lagos-Onitsha axis of the industry, it is difficult keeping pace with the frenetic speed of activities. But then, as we promised, Culture Point’s interventions will be as representative as possible.
Examining less than half a dozen movies from this part of the country has only established what is common knowledge to all students of the humanities. And that is that the concerns are basically the same. The differences are only in terms of what could be described as peculiarities or details of cultural nuances. And at the level of craftsmanship, there can be no denying the fact that practitioners in the nation’s movie industry are responding well to the challenges.
Baba Williams’ Alharga is one of the latest Hausa movies (though you can bet many more would have been released after it as it is the character of the industry). What many will find exciting about it is its tightness. The movie though addresses a serious issue tells the story in the simplest of form which many may assume is a function of budgetary constraints and this of course might have had its adverse affects on the total packaging. The film may be simple, predicable and even amateurish in concept, it is definitely not in the category of those that are best for the trash bin. At least we are spared those unnecessary high jinks that go with some of these so-called high budget movies. There are only seven characters and three scenes in movie. It also runs for less than one hour!!
Alharga confronts the issue of love from a cultural prism and its attendant tensions. Like every young couple, Nazir (Ahmed S. Nuhu) and Fati (Maryam Abubakar) are excited about the prospects of a blissful marriage. But as it often happens, dreams and reality will always be in conflict. Nazir’s mother, Hajiya Amina (Amina Garba) is of the old school who believes that she should always have her way even in her son’s home. She makes life very difficult for the young bribe and this soon gets to a hilt when she impresses on Nazir the need for a second wife. Her argument is that being an only son, he cannot be restricted to just one wife. Though Nazir’s love for his wife is not in doubt, he finds it difficult to say no to his mother and therefore agrees to wish to marry Zuwaira (Aina’u Ade) who is a university undergraduate.
Meanwhile tension grows in the house. Fati runs to her parents. While she finds in her mother, Maimuna (Jamila Haruna), her father, Alhaji Suleiman (Kabiru Nakwango) insists she should go and live with whatever are the challenges of marriage.
According to him, every home has its own challenges and she has to learn how to cope. He frowns at any intervention from his wife and warns her to coming to them any time there is any little trouble in her home. For him, the young people should be allowed to experience life as it is and the experience no matter how bitter it is will only enrich their lives. But it’s a war of the women. Maimuna and Hajiya Amina battle for the souls of the young people. But as it often is, it is the husband’s mother that has her way. Hajiya is far gone in her plan to get a second wife for her son and so would not see any reason in what Maimuna tells her. In all of this, Nazir remains helpless even as his home boils.
But is it about cultural inhibition or that Nazir does not seem to have a mind of his own? Fati is left with no choice but to succumb. Nazir eventually marries Zuwaira and predictably, things soon begin to fall apart. Both women would not see eye-to-eye. While Fati feels that she deserves respect as the senior wife, Zuwaira feels as the more educated, she should call the shots at home. As they confront each other, Nazir appeals to Fati to show more understanding believing that patience has its rewards.
There is an unexpected twist. Zuwaira falls sick and is rushed to the hospital. But it is here she exposes herself. In no time she falls in love with Dr. Sadiq (Baballe Hayatu) whom she lied to that Nazir is her brother. She is hardly found on her hospital bed as she goes out with Sadiq. Unfortunately, the young doctor does not know that he is scavenging on another man’s farm until the bubble bursts. They are found out eventually and a disappointed Nazir dissolved the marriage there and then. Hajiya is also left flustered at the disappointment that Zuwaira has turned out. There is nothing she can do in this case but to allow Nazir and Fati live their normal lives. Zuwaira loses on both ends as Dr. Sadiq also leaves her to her fate.
Undoubtedly, Alharga is a didactic movie that seeks to restrain parents from being too overbearing. And while a culture might permit polygamy, this should not be forced on an individual. Definitely Hajiya Amina did not wish polygamy for her son for altruistic reasons but simply to get even with Fati that she felt was nothing but a gold digger out to fleece her son. Also, but for the intervention of Alhaji Suleiman, Maimuna would have led her daughter astray by preaching an eye for an eye when what she needed was proper counseling from an adult who was supposed to have seen it all. But then, all is well that ends well.
The picture quality is good and so also is the acting. For once, one watches a Hausa movie that is cultural in content and character. There is only one musical scene which is also well deployed because it is used to affirm the power of love at a time the viewer begins to get apprehensive about what would happen to the hapless Fati.
There is nothing radically different about Alharga. It is as expressive as the others one sees around. But then, this is becoming the character of the Nigerian home movie and so, it becomes difficult seeing this as a shortcoming. Who says we cannot re-define the art of cinematography?
And as if it is a deliberate thing, this movie like many others in Hausa shuts out non Hausa speakers. This, in itself should not be seen as a drawback because no law insists on subtitle but given the nature of the industry, this makes it difficult for non speakers of the language to appreciate the commendable work that these movie makers are doing. And the expected critical response will be slow in coming. For so long, the Yoruba movie makers were guilty of the same offence but they have learnt that the simple act of subtitling could help a great deal in widening their sphere of influence. Someone should ask our Hausa colleagues when this policy of exclusivity will end.
For those who understand the language though, this is a good flick for the family; nothing ‘dirty’ or foul.
Bar Beach Blues at ITPAN
All roads lead to the ITPAN Secretariat, 35, Mabinuori Dawodu Street, Gbagada Phase 2, Lagos, on Sunday as the Association flags off its Sneak Preview series for 2005 with Femi Odugbemi’s Bar Beach Blues. According to Afolabi Adesanya, the new Secretary General of ITPAN, the event will kick of at 3pm. This will be followed on February 13, 2005 by a preview of This is Lagos, an ITPAN/CFI documentary.
N100,000,000 Government fund intact
By Adia Ukoyen
Contrary to stories making the rounds that out of the N100,000,000 voted for the Nigerian Movie Industry, fifty-four million (54,000,000) has already been spent, this is the thinking of shallow-minded people who are off no relevance to the industry. And to achieve some degree of prominence in the scheme of things, they have decided to go to town with their tales of calumny.
At the peak of the crises between Madu Chukwendu and top players of the Association of Movie Producers (AMP), a special assistant to the Honourable Minister for Information, Dr Chukwuemeka Chikelu was fingered as a culprit in the saga. Contrary to the rumours, he is innocent of any of the allegations.
His trips abroad with key stakeholders in the industry, especially to the Sitenghi Film Festival in South Africa were to scout for partnership with foreign producers to boast the quality of films being churned out. It should be recalled that at the last festival held in November, a Nigerian film for the first time was officially screened, and the presence of the former philosophy don added to this great achievement.
In all of the rumblings of the movie industry, the Ministry not only an observer but a concerned one hoping to take the industry to the greatest height by assisting the industry to receive governments backing and nothing more.
My friends jilted me when I started Yotomi
Muyideen Alade Agboola Aromire, for about 2 decades was one of the hottest influences that dominated modern Yoruba home video. Most of the films he acted in, directed or produced were all hits until he called it quits with acting in late 2001. Nollywood’s Henry Okey Anyanwu went to his office at the Disc Engineering Complex in Agindingbi, Ikeja. As usual, he did not disappoint as he revealed all in this chat.
Alade… how did you come into acting?
O gaa… It was through my mother, Alhaja Mulikat Dawodu. She loved movies and the cinemas and always took us, her kids to watch films and cinemas while we were growing up, we grew up at the Lagos Island. But she always gave us her kids conditions; like, if we pass our exams well at school, we win her vote of taking us to the next film or cinema. So we all tried to improve in our academics so that Alhaja could take us to the Cinema. So, I was influenced. I was moved by the Theatre. We enjoyed all the films at the Glover Hall. The “Ogunde films” and the “Ojo Ladipo” Theatre. Because of my love for acting and Cinema, I joined the Musan Arts Club, Onikan, and that was how I started. Even while at the Ansarudeen College Isolo, I didn’t joke with my love for acting. I and Lukuluku, that is Lukman Bolaji had to form the Eko Echo Drama club at Mushin in the early 70’s. I later travelled out to London and Germany to study Film and TV. Technology at College of Cologne in Germany to improve myself. I think I came back in 1982 to start my own kind of home video.
You mean there was serious home video business in Yoruba before the Production of - “Living In Bondage”?
Of course yes. Let me tell you what you don’t know, “Living In Bondage” was not the first home video as claimed by some people. Go and ask the producers of the film, Kenneth Nnebue and the director, Ahmed Oguntade who have done over 40 Yoruba films before coming out with “Living In Bondage” in 1991. Kenneth Nnebue was a producer in Yoruba, infact “Living in Bondage” was originally an Igbo film, it was only later adapted. Before then people like Tunde Kelani have been producing Yoruba films, but for me, my first film was ‘Ekun” which I produced in 1986. The records should be corrected and they should give us this credit. The home video thing was already established before 1990.
You mean you have produced some films before 1990?
Look you… both “Ekun”, “Omije”, and “Asiko” were all produced before 1990. what are we talking about. That is why I’m angry with this name they gave our film industry; Nollywood. What is Nollywood? Is there anything Nigerian in it? We should keep the facts and records right. No Nigeria Language is put into its choosing and derivation. We should always try to keep our own thing in our own way, Language and culture. We should always try to put our language in our films like the South Africans do. We should always try to educate foreigners about our heritage through our films, what are you going to tell them about the name – Nollywood?
You have seen it all, can you rate our film industry now?
There is nothing to rate. Now, I will tell you why I stopped acting to start up my Yotomi cable Television. To be honest, Nigeria in all angles have lots of talents in film and movie making. But what do we have here, people, are more interested in making money, neglecting creative statements which they should have used in their films. We don’t have real movie makers who like to pass a culture statement through their film. Everybody is playing down on creativity because he wants to shoot a commercial film for 3 days. Our film no longer have value after one month from date of release, and this is quite unfortunate. All the movie associations of all kind are all selfish people, nobody wants to face reality and the truth. How can our film improve when the marketers want only some faces to be on the jackets before they can market? Then we can’t improve because definitely other ones will not be giving a Change to make their own statements. The same faces and love of money. After looking at the whole thing, nobody is changing. I had had enough of this hypocrisy in our films, so I decided to quit and start my cable TV., Yotomi – which means ultimate enjoyment. Infact, when I was starting I wanted my friends, my close colleagues in the industry to join me but they all played a trick on me and tactically abandoned me thinking I will fail. They were all thinking how can Alade, alone own a Television cable. But God did not abandon me.
Which were your greatest films before you quit?
“Adun” (1999), “Londoner” (1996) “Asiri-Nla (1994) “Ashabi – Olorisha” (2001) Too many to forget.
Any regrets so far?
Regrets ke… I told you I was bored with everything in the acting industry. I was bored with the system that was devoid of change and structures. I’ve since moved over to other things. But up to this moment I still produce films anyway, but I don’t act anymore.
One last shot, its true you were married 3 times, does that mean you now have wives?
You won… kill me? I had my first wife but she is gone. I married the second one and when she didn’t allow me do my work, thinking I was sleeping with anybody working with me, she too could not last. Though at the moment I have another woman in my life, I’m, more careful this time a round. In all, I have 6 children.
Why I left Banking for acting----Akeem Adekunle Rahman
He is a clear case of a crossover talent and actor. During the “checkmate” days on T.V. he was simply hailed–Dr. Kwame. Akeem Adekunle Rahman has paid his dues through the years in the stage and film industry. Last week in a location at Ikorodu in the out-skirts of Lagos, Henry Okey Anyanwu ran into him and he obliged to an interview.
What’s up brother, nice to see you again, what is the title of the film you are shooting here?
Title ke…what you have this days are all working titles for obvious reasons. We have all learnt our bitter lessons. You know now! Imagine you shooting a film with a certain title..and after just 2 weeks that you have finished shooting, somebody, one bonbonclat has stolen it and come out with the same title you have earlier used while shooting. It’s that bad.
Some few years back, the film “Ashanti” made you so popular, why?
It was the role I played now. I played Chief Odogwu in that film and his activities and ruthless attitudes made me a mini-god in the film, that’s all. That production was really tight. It was a Chico Ejiro production and the display of acts like Bobmanuel-Odokwu and Sandra Achums was mean.
You are often used as a very ruthless and rich man in some films, what is the reason for it?
Ah..you should know now! My looks and my stature is the reason. I must confess, I ‘m a very lucky man with this stature. Its not being easy though, but so far, so good. I really enjoyed the role I played in . “The Champ” Obi Madubuogwu’s film where I featured along side Ramsey Noah, and Jide Kosoko. Another film I admired myself was “The Schemers” an O.J. Production where I played along side – Keppy Ekpenyong, Bimbo Akintola and Rita Dominic. It was very challenging, real fun and worth it.
Which film, which production is your most exciting in all the ones you have featured in, and why?
Before I explain, let me tell you something about productions of good films – locations. You know our film, the industry is developing, we should not be seen to be using the same scenes, houses, landscapes and the costumes all the time. There must be a change if we must improve. Look at the Enugu demographic locations, very rich and tight. Is it the Calabar areas, very fine scenarios to shoot. We should always leave Lagos and have Lagos and see a difference. You get where I’m going to. “The Turn-tables “ by Ulze production which was shot in all parts of the beautiful Abuja city is my most exciting and memorable production. The landscape is real and inviting. Sometimes I felt we were not shooting but just on tour drift and having fun. The combination of tested stars like-Olu Jacobs, Liz Benson, Dakorie, Jumai Joseph and others on location added more taste and glamour to the production and the city. In fact shooting in Abuja is the in thing now for many producers and directors because of its natural aesthetic landscape.
If I may ask, when did you start this acting thing?
Way back…long time ago. In the 70’s when I starred in the T.V. programme – “shadows”. I’ve always liked acting anyway. I was later a banker with the Union Bank but when I wasn’t getting fulfillment, I left the job for acting. I’m fulfilled now. I never liked the banking style, intrigues and politics. I resigned because their kind of life, of no space, and everybody claiming to be this and that does not suit me. So I had to find my way and look somewhere else.
Which film to you actually gave you a break?
Ralph Nwadike’s – “Magic Moment”. I can never forget that film in a hurry. It was exotic and good. I got all I wanted in that film and I thank Ralph my guy for giving me that privilege.
On a lighter note now, is it true that all known female stars once slept with producers and directors before getting their breaks?
That is a big lie. These producers are directors are professionals, you know. Its not possible. People should stop spoiling them, afterall this is showbiz and some of this things are what makes it thick, like other fields too. What is their business sef? Some of these female stars are happily married and people should just live them alone.
No more acting for me after marriage
Star Actress, Genevieve Nnaji has stated in unequivocal terms that she will formally quit acting the moment she ties the nuptial nut. She also bared her mind to Romanus Ugwu who caught up with her at an occasion recently.
What is your impression about the movie industry in Nigeria?
I will say that we are growing in bounds. I believe that in no distance time we will meet up the expectations of Nigerians and the wider world.
Would say that you have got what you are looking for as an actress?
I won’t say that I am lacking. I am happy with the profession I have chosen. Acting is now part of life and I feel fulfilled.
What have been the ups and downs you have had in the profession as a person and the industry itself?
They have been the normal vicissitudes of life. They are the usual advantages and disadvantages seen in every facets of life. I am not expecting everything to be all roses. But on a serious note, I think I have passed that stage of downs, I am looking up.
What have been the most excruciating difficulties you have encountered since you started acting?
I think I can only remember having difficulties in my first and second year of my entrance into the industry. I faced the situation of going for auditioning, working hard to prove myself ahead of other better ones competing for the same position. I also faced the difficulty of going extra length to prove myself before I was given a job. I have to struggle to meet up with one quality or the other the directors may want for the job.
But I think that my stage of facing difficulty has passed right away because for now all I am battling against is the challenges of fame, and the challenges of creativity. To me, this are the challenges I am facing now because you know that it is easy to climb to the top but highly challenging to remain on there.
Some Nigerians tagged you snub, is their impression true?
Do you think that is true, am I a snub? It depends on the way they look at it. But you should know that everybody has different perception about human beings. People who gave me the tag of a snub are those that have not meet me one on one. Since I have never come close to them, their perceptions are erroneously based on assumption. They are not fair to me because they cannot just be at a far distance and conclude that I am like this or that I must be like that.
Some of them that are too scared to reach me will just look for an excuse to cover their fright with some funny description of my person. They have capitalised their impression of me as being unapproachable to tag me as a snub.
I personally stumbled on your picture in American Singles website, could it be that you are actually looking for Mr. Right and if so, why must it be in a website?
It is no longer news that my pictures are there but the truth is that I am not the one that put it there. I have not seen it though I have been informed about the picture. In fact, somebody has even printed some thing like that and shown it to me. But on a serious note, I am not even looking for husband, so, why should I go and publicise such there.
When you say that you are not looking for husband, are you implying that you are married?
I am not married but that does not imply that I am looking for one.
When are you finally tying the nuptial nut?
The day I tie it, I will stop what I am doing as an actress. So ours is to decide whether you have to tie the nuptial nut or to remain an actress forever.
Are you signifying that the day you formally get married you quit acting?
What I am saying is that you can’t eat your cake and have it. Therefore, when I enter into a serious relationship, definitely, if at all I will continue acting, I am certainly going to be doing less of what I am doing now. The truth remains that I am going to be committed to somebody else which invariably will reduce the amount of time I would have put in into my job. So, people should actually think of the effect of what they are doing at the expense of their married life. What if I get married and my husband don’t like my continuation in the business?
What do you think of the nudity of ladies in the Nigerian movie industry?
There is no nudity in our industry. We don’t have it anymore. We use to have it when some people thought it was the trend but we don’t have that anymore. I am just stating the fact that we don’t have it now.
How would Genevieve want to be remembered?
I want to be remembered by my works, my belief, by the niche I have carved for myself, and by my hard work. I want people to know me as a girl who had strong believe in herself when I want to get what I want and I want everybody to do same.
NOLLYWOOD RIDIMS! NOLLYWOOD RIDIMS!! NOLLYWOOD RIDIMS!!!:
Visa: any which way
By Niji Akanni
nijiakanni@yahoo.com
Look my face well o!
I beg your pardon, sir?
Oh, sorry. I forgot you probably don’t speak Nigerian pidgin . . . I said, take a closer look at me and tell me if you haven’t seen this face before . . . Go on; look.
I’m sorry, sir. I don’t think I’ve seen you before. But then, I’m quite new in Nigeria. I joined our Embassy here only three weeks ago.
Ehn-hen! No wonder! . . . I mean, how can anyone say he or she can’t recognize my name and my face: except that person . . .
Listen, sir. I really don’t see where all this is leading. All I need to establish right now is whether the organizers of the Film Festival have personally invited you. Just give me some identification to that effect, please.
And I say my face is my identification! If they don’t invite me to a foreign Film Festival, who else will they invite from the Nigerian film industry? . . . Ask anybody here . . . Go and ask all the Nigerians employed in your Embassy here if they don’t know me! Even your gatemen recognized me instantly: that’s why they didn’t let me queue up like common people at the visa section outside.
Alright, sir. Would you like to schedule another interview appointment?
Another interview! . . . Mr., Man, I said the Film Festival starts tomorrow morning! All delegates are supposed to arrive today!
Could you keep your voice down, sir?
Why? . . . I said, why should I keep my voice down? Are we in Okija Shrine that I should speak in whispers? We are talking about something very important to my life here and you . . .
This is not a matter of life or death, sir. You only wish to attend a foreign film festival; it’s not as if you’re going for a heart transplant operation!
I see. In other words, you people are not giving me the visa?
That decision has not been made, sir. All we want to establish for now
. . .
Because if you deny me the visa, this place will get hot today o!
Is that a threat, sir?
Call it whatever you like for now. But you will know what it is when, as from tomorrow; all Nigerian papers begin to shout that the South African embassy is racist!
Racist!
Yes, now! If you’re not racist . . . If I were a white man with green eyes and blond hair, would you be asking these nonsensical questions?
I assure you, sir: these are standard procedure visa interview questions. We ask these of everybody . . .
Which ‘everybody’? The white woman who entered your office just before me; she spent only five minutes and she came out smiling . . .
And I’ve been watching. Since I got here, every Nigerian that went into your office, they came out looking like Tsunami victims!
Sir, please . . .
One girl even came out with tears in her eyes! She was crying, Mr. Man! That is what you call equal treatment for everybody?
Sir, I must say that you’re really tasking my patience here, you know.
Then, give me the visa!
You don’t get issued a visa just by demanding for it! You need proper identification, complete documentation and genuine, verifiable purpose of travel!
Proper identification is my name and my face! I am the most popular, one of the highest paid Nigerian actors. I am a crossover actor. Do you know what that means?
No, I don’t! And I’m not sure that is relevant here. As for documentation . . .
As for documentation: you have my Passport and my bank statement in front of you! You want to see my WAEC result or what?
No. What I want is an original Letter of Invitation, addressed to you personally. We can’t accept this nondescript, cyclostyled Letter of Invitation, which you probably downloaded from the Internet!
And so what if I downloaded it? Is it not stated there: “Open Invitation”? If a white man brought that here, you’d issue him a visa one time!. But because I’m a Nigerian, because I’m a black man, I have to hold a Letter addressed to me personally, copied to the head of my family, and both Letters must be countersigned by the South African Minister of Culture. Is that it?
Sir, this interview is over.
No, it is not over until you tell me if I’m getting the visa or not!
You want to leave or should I call the Security Post to throw you out?
Throw me out? . . . Am I dreaming? A black official will order a Nigerian thrown out of the South African embassy?
If there’s a need for it, yes!
Ah, you’re an ingrate!
What was that?
After all we did for you people! After all we Nigerians did to save you from the evil of apartheid!
This is ridiculous!
Aha! So, it’s ridiculous now, eh? But it was not ridiculous when your fathers . . .
What did you say?
I spoke in English. Mr. Man, not pidgin! I said your fathers – only 30 years ago – in 1976, your own fathers in ANC depended on Nigerian taxpayers to survive, to fight apartheid! You want me to bring the accounts of how much dollars our own Baba Iyabo sent to your Mandela so that . . .
Kindly turn around, sir!
Ah! Gun! Batons! . . . You bring guns and batons to arrest . . .
Just pick up your Passport and application forms, sir, and walk out of this office with your hands in the air.
Has this ever happened to a white man here?
Don’t make us get rough with you, sir!
Get rough, get gentle; it doesn’t matter! All I know is that by the time I finish with you in the press, no Nigerian will ever step in here to apply for visa again! We will boycott you and your nonsense, ungrateful country! . . . Ah, you all laugh! You think I’m joking?
Actually, sir, I think I can speak on behalf of my colleagues here. We think that is the most hilarious statement ever made! . . . Nigerians will boycott our visa section? Is that a line from one of your silly films?
CSR:
Globacom redefines sports sponsorship, poverty alleviation
Globacom sees Corporate Social Responsibility (CSR) as an integral part of business and as a noble concept that challenges organizations to give something back to the environment from which they fulfill their business goals. Essentially, the company believes that Corporate Social Responsibility is at the heart of development.
Societal physical growth and provision of infrastructure cannot be left to government alone. It is the responsibility of all, especially the private sector.
It is our view that organization’s Corporate Responsibility efforts underscore its identification with the dreams and aspirations of its environment. It also promotes and projects its image, products and services.
Globacom launched as the Second National Carrier and indeed the fourth entrant into the GSM market in August 2003 amidst frenzied fanfare and high expectations. Its instant acceptance by Nigerians to put a huge responsibility on the network which it has redeemed in characteristic style. But this was expected.
Given its pedigree of open and timely identification with sports, Globacom’s foray, shortly after launch into sports sponsorship is easily understood. By the last count, the company has supported sports alone to the value of over 1 billion naira, including over one hundred million naira to the Super Eagles as official partners, in just one year.
8th ALL AFRICAN GAMES
At the 8th All African Games in 2003, Globacom partnered COJA as exclusive telecom partner. The move was designed to give Nigeria a modern telecom platform as the nation hosted the whole of Africa to the biennial event. The sum of N50 million was committed to the event in cash and another N50 million in kind. also, N300 million was deployed in installing state-of-the-art equipment and infrastructure.
CHOGM
On the heels of COJA, Globacom provided SIM cards, Handsets, Subsidized airtime and stationery for participants, officials, media practitioners and visitors to the Commonwealth Heads of Government Meeting (CHOGM), in December 2003. The patriotic gesture by Globacom was part of the company’s supportive role to the positive projection of the nation.
GLOBACOM PREMIER LEAGUE
Globacom’s concern for the development of football has been well demonstrated through its numerous commitments. It is the biggest supporter of the game in Nigeria today, with well over N500,000,000 million committed to sponsorship in the last one-year alone.
For instance, the nation’s hope for an improved local league received a boost from Globacom in 2003. The network offered a N54 million lifeline to the comatose league with the objective of bringing it up to world-class standard and making it an attractive leisure for sports lovers. The league received further boost with a landmark and unprecedented reception for football stakeholders. The meet, which attracted the cream of Nigerian football stars, including old and new members of the Super Eagles, soccer ambassadors, administrators and football enthusiasts, cost the company over N62 million. It was meant to achieve bonding among the stakeholders and fashion a new direction for our football.
Also, Continental champions, Enyimba football club of Aba was supported all through by Globacom in its historic back to back retainance of the African Champions League Cup. Among others, the company signed a N100 million annual sponsorship deal with the club. Globacom is also supporting Kano Pillars. The company’s interest is to assist the club to buy quality players, developm infrastructure and ensure the well-being of players. This is expected to boost their morale and enhance their performance.
SUPER EAGLES/SUPPORTERS CLUB
As partners and official sponsors of the Super Eagles, Globacom’s support especially in the Eagles’ World Cup and Nation’s cup campaign bid, has been widely acclaimed as timely and motivating.. The company has made various material and financial contributions to the team since it came on board as partners, including cash support of over N100 million in the first half of this year alone. The players and their officials have also been provided ceremonial dresses on occasions in recent times.
The SNC is also on the verge of improving the fortunes of other National teams by taking up the sponsorship of the Super Falcons, the under 23, under 20, under 17 and under 19 women’s football teams. Globacom has also signed a N20 million deal as title sponsors of the newly introduced professional women’s football league, the first such league in Africa.
The supporters’ club too has benefited tremendously from the Globacom largesse. With financial support in excess of N16 million in 2004 alone, the team has been able to accompany the Eagles on their campaign to several competitions, giving them the necessary support in their matches.
OTHER SPORTS
The company’s support for sports has been extended to Golf and indeed Polo where it is a titled sponsor of the annual Kaduna Polo tournament. Globacom signed a N50 million deal with the Kaduna Polo Club in a partnership that is bound to take the game to another height. Also, the annual Nigeria Cup Golf competition in Lagos and the very popular French Week Gulf Tournament at Ewekoro this year received a boost with the company’s needed support both in cash and in product donations.
NAPEP/NDDC
One major recent effort on Corporate Social Responsibility is the company’s partnership with the National Poverty Eradication Programme (NAPEP), in the drive to eliminate poverty in the country. The company’s pay off line: ‘People, Power, Possibilities’, is an admission of the limitless possibilities, given the opportunities.
The greatest enemy to the Nigerian people today is poverty.
Globacom is confronting this plague headlong by identifying with the noble objective of the agency to provide economic freedom to poor Nigerians. The company recently provided 500 call centre packages to Nigerians in major cities, in a pilot phase. Each call centre package contains a Glo Sim Pack with handset, tables, chairs and parasols which will serve as shields for beneficiaries. The commitment is that this will be extended to more beneficiaries as the need arises.
Globacom’s most recent effort at corporate philantrophy is its partnership with the Niger Delta Development Commission, (NDDC). The company, in Port Harcourt launched a N160 million poverty eradication programme named Self Employment Business Support Scheme (SEMBUS), for the Niger Delta Region. The scheme, when fully implemented, will provide employment opportunities for youths of the region by helping them to establish their own commercial phone centres. The first phase include the provision of 4,000 Handsets and Lines, 4,000 Tables, Parasols and Jackets and 8,000 Chairs to the beneficiaries.
As Globacom marches into its second year of operations, plans are at advanced stage to commence implementation of even bigger and more impacting Social Responsibility programmes. Surely, the network has enjoyed tremendous acceptance and goodwill, and in the true spirit of the concept, the network will continue to redeem its stautory and expected obligations to the people.
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