Among those who are conversant with the little beginnings of the Nigerian film industry, Okey Ogunjiofor is usually referred to as the father of Nollywood. That is because, among other things, it was his movie ‘Living In Bondage’ that set the pace for Nollywood’s prominence. Ironically, in later years when Nollywood found its tempo and its practitioners experienced a boom, Ogunjiofor was nowhere to be found. And just when everyone was wondering his whereabouts, he returned to the stage with a hit movie, Amina, at a rather difficult time when the dreaded COVID-19 pandemic is shaking the world to its very foundation. PAUL UKPABIO, the ever smiling movie producer tells the whole story about Nollywood, the locust years and his world record movie.

Your latest work, “Amina”, is already a hit. What is the magic?

I thank God for the success story of “Amina”. The main reason for making the movie was to re-define Nollywood preparatory for the investors’ market, just like “Living In Bondage” was the re-definition of film practice in the past. The aim was to make a film that would make the world celebrate Nollywood products rather than just tolerating them.

I am glad that “Amina” did not just achieve this purpose, it surpassed our expectations when it rose to become the only Nollywood film since inception to make the top 10 list on Netflix globally.

Do you think the movie has received the needed publicity so far?

No, I don’t think “Amina” has received enough attention from the Federal Government of Nigeria or enough publicity as it ought to from the media, considering its success story not only for Nollywood but for Nigeria and Africa at large. But I must thank the few broadcast houses and online media organisations that have extended their goodwill to celebrate this feat with us.

What do you think is the key factor behind the movie’s global acceptance?

Amina is an indigenous African story told by Africans to the world, not only to entertain Nollywood’s growing global audience but to demonstrate that the African film industry has come of age, and that given enough resources, African filmakers can hold their own in the global arena.

The concept of Amina centered on the fact that since ancient civilization in Africa, women have ruled on the continent. From Queen Nefertiti of Egypt (1292 BC), Makeba, Queen of Sheba (960 BC) and Empress Candence of Ethiopia (323 BC). Later, we had Queen Amina of Zazzau (c. 1533 – 1633), Queen Anna Nzinga of Angola (c. 1583 – 1663) and Yaa Asentewa of Ashanti Kingdom of Ghana (c.1830-1921), Queen Sarraounia Mangou of Niger (19th Century), Ranavalona of Madagascar, Beatrice of the Congo, to name a few. But despite the exploits of these great women in Africa, inequality, discrimination against women’s rights and other gender-based prejudices still persist not only in Africa but the world over.

“Amina” raises an important question on why there are not many female leaders in the world today when history is full of women who have excelled as leaders. This is not just in the political arena but in business, the arts and sports.

“Amina” is a locally themed, globally relevant narrative. United Nations’ present focus is on women empowerment, and Goal 3 of the Millennium Development Goals (MDGs) makes a very strong case also for the empowerment of the girl child and women around the world. Therefore, Videosonic chose this feature film as a medium to drive this message of change to make our nation and the world a more equitable place, to give all humans, female or male, poor or rich, the opportunity to rise to national and global leadership.

The authenticity of Amina story was verified through intensive research, which spanned a period of 25 years in addition to authentic exotic set, costume and props designs created and built for the purpose of its thematic actualization.

“Amina” was executed using all the benefits of High-Definition Video origination equipment (ALEXA), up-to-date cinematographic support devices and computerised digital edit including VFX sound design, grading and 5.1 surround sound. In addition, a trained team of audio-visual professionals responsible for the entire film is composed of a mix of experienced professionals and quite visionary young people with an eye toward constant innovation. Employing simple but ingenious low-cost approaches, the film effectively achieved the level of awe-inspiring global pictures and universal sound quality only seen in foreign theatres.

After a long while out of Nollywood, what prompted you into a comeback?

You see, after my pioneering efforts in Nollywood with “Living in Bondage”, “Circle Of Doom”, “Nneka the Pretty Serpent”, “Brotherhood of Darkness” and other hits, the whole world took notice of our industry. I felt that there was more we could do to deepen the acceptance of the phenomenon called Nollywood. But most of my colleagues were not getting it, especially those in the market.

So, since then, Nollywood products have remained on the fringes of global distribution due to defects in the quality of our sounds and pictures occasioned by very low investments in films arising from fear of losing huge investments due to linear distribution. And everybody continued churning out low budget films for fear of losing so much if the film failed to make it in the market. I couldn’t continue making films in the industry as it was. A situation where the DVD market is almost dead due to piracy and the cinemas replacing them were no different either.

So, I felt there must be a “new way” to survive in the industry, for Nollywood became stunted because the practitioners got comfortable with individual small successes that no one was prepared to take the big risks required for our collective big successes. And I was determined to find that “new way” no matter how long it may take. The answer therefore, was to make “Amina” to show what is possible for all; a film that would make the world celebrate our products thereby opening up Nollywood for global investments. It was the quest to raise enough money to fund this “new way” that kept me away from mainstream filmmaking for 25 years. Now that I am back, there is a “new way” for all to follow.

What we’re you doing in the period that you were away from Nollywood?

During these years of my sabbatical to find the “new way” for our industry, I consulted for The Presidency of the Federal Republic of Nigeria and The Kennedy Centre, Washington, USA on gender-based research and programmes for the empowerment of Women and the girl child 1996-1999. After that, in 2000 I produced “Born to Win”, a film on Bishop David Oyedepo’s book with same title. By 2002–2005, I produced 86 episodes of “Rough Edges” soap opera series on 18 national television channels and cable television. Then by 2007–2010, another 78 episodes of “Cyberia” a soap series on 21 national television stations and pay TV, and by 2011–2012, I produced 20 episodes of “Hope Avenue”, a sitcom series.

I also produced corporate documentary films for organisations such as CIBN 50yrs of Banking in Nigeria 2013, Director of World Economic Forum (WEF) in Nigeria 2014. By 2009–2012, I founded and organised The African Audio-Visual Awards (TAVA) in order to mentor young filmmakers as well as midwife Nollywood products to global standards. I also produced and directed five episodes of FCMB documentary series in 2019.

Side by side the above productions within this period, I also found time to upgrade myself educationally, with a Bachelor of Science (B.Sc.) in Government and Public Administration from Imo State University, and UCLA (School of Theatre, Film and Television Studies) University of California, Los Angeles. I also hold many Master Class certificates and other international professional certificates. Due to my pedigree in Nollywood and sundry youth interventions, I was invited to be one of the mentors and resource persons to visiting German youths in the “Go Africa Go German,” a German-African scholarship exchange programme; a joint initiative of the Federal Government of Germany and the Federal Agency for Civic Education.

I am an author of many books: ”The Call, The Cross and The Crown, Vultures at Twilight, The Legend of Queen Amina, and The Mystery of Salvation”. I am an audio-visual consultant to a few organisations, a youth mentor, event organiser, and preacher of the gospel around the world. I also sit on the board of many private organisations and industry associations.

Now let’s go back to the early Nollywood period. Do you miss those days? If yes, what are those things that you miss?

Outside the strength of our stories that seemed to connect with our global audience more then, I don’t think I miss much of early Nollywood. Yes, there is a sense of nostalgia whenever I remember those days of early Nollywood, but then it is that of pain and loss, of being used repeatedly, of opportunities missed and gains squandered.

Nollywood used to be Surulere, Idumota, Eweka Road, Onitsha but today it is a global phenomenon.  Can Nollywood’s success be ascribed to individuals who started it or should it be classified as a phenomenon that had to be?

Nollywood is a product of providence; a phenomenon that began by Divine intervention which has continued to evolve through Divine guidance and intervention. Yes, the glory should go to God even though the credit should be given to those God used to start it and all those who have continued to contribute towards the deepening of this phenomenal brand.

What do you consider the successes that Nollywood has made over the years and what do you consider its failures?

There is a combination of factors that have endeared Nollywood to the world, which is why they are taking notice of what we are doing. The ability of Africans to evolve a new format for filmmaking through digital cameras, creating an industry out of it away from western style and format remains the major success story of Nollywood. Nevertheless, at the beginning, Nollywood lacked acceptance and recognition. Everyone tried to kill it at its inception. No one gave it a chance globally. There was no government support locally, and even the supposed distributors in the various markets became the pirates of the films they were distributing.

Although digital filmmaking started in Nigeria then, nobody was there to take ownership and tell our story to the world. Older filmmakers criticised our industry and called it nonsense, but later, they joined the nonsense. Foreign groups derogatorily called us Nollywood – “Nothing near the Wood”. While some local journalists praised the feat, others took us to the cleaners rather comparing our experiment, especially quality-wise with the more established Hollywood and Bollywood film industries. But here we are still today by the grace of God, and by the prolific nature of Nigerians who are “never-say-die” people, changing the narratives about Africa, rewriting the history and what you would call negative prejudices that the world has always had about Africa. Above all, creating massive employment that grows African economies.

But our major failure has been the inability of the practitioners to take deliberate steps, make the sacrifices needed to deepen the practice and expand the ecosystem to attract global investments.

Nollywood has lost many to death. Which of them pained you the most?

There are so many of them, like Amaka Igwe, Sam Loco, Hameed Oguntade, Justus Esiri, Bukky Ajayi, Rachel Oniga, Chico Ejiro, Chris Ekejimbe and others too many to mention here. May their souls rest in peace.

What has been the passion that has kept you going all these years?

Let me summarise the passion that has kept me going with the four (“4G”) below:

God: I acknowledge and recognise the place of God as the source of all things creative in the creative process. I solely depend on God as the giver of insights and talents, not drugs or any other source. I have absolute faith in God, and I am conscious not to abuse that source so that I do not dry up.

Guts: I have an intuitive capacity that tilts towards the prophetic. I am always clear in my thinking, decisive when I make up my mind, believe in myself and trust my judgments regarding any project I embark upon. Since film is about communicating the cultural tones of a people via sights and sounds, I try to read voraciously, well-traveled, have a broad world view to life issues in order to communicate effectively with my audience on any theme I choose to work on.

Grit: I am a person of courage and resolve with great strength of character. I have a never-say-die attitude to my craft and anything I believe in. I am very passionate, painstaking and persevering enough to weather the storms till result comes.

Grace: After thorough planning, I just must depend on God’s goodness to take care of those unforeseen things that may crop up from the beginning of the creative process till the exhibition, like timing, etc. I am a very good manager of men and resources.

So, evidently my staying power is God; it is no secret. He alone stands me out. I am not better than anybody except that God has chosen to glorify Himself in me. I am just a vessel in the hands of the Holy Spirit.

After all said and done, Nigerian Musicians are still far richer than Nollywood practitioners, at least so it seems. Should this comparison be made at all?

No, there is no basis for such comparison.

So how’s life with you? How do you catch fun?

The ups and downs of life is fun on its own depending on the angle of elevation from which you view life. I read, write, watch global events as they unfold daily. Above all, I enjoy spending quality time with God and my family.

Is “Amina” going on tour?

Amina is not going on any tour; it is exclusively a Netflix Original for now.

After Amina what next?

For the next 7-10 years we are going to produce more locally themed globally relevant contents to entrench the 4th epoch of Nollywood and drive massive investments to the industry and to her practitioners across Africa.

At 88, Edna Jane Deinyo Soyannwo has had a blissful career as an author, composer and teacher in top schools in the UK, Ghana and Nigeria. One of her former students, TONY IYARE, an international journalist & development expert, discusses her life, family and accomplishments.

POPULARLY called EJD according to her initials, Mrs Edna Jane Deinyo Soyannwo, a Ghanaian by birth, has made profound impact on the alumni of our school, United Christian Secondary School, Apapa, Lagos, who are distinguished professionals in different fields, leaning on the inspirational vibes of the lyrics and rhymes of our school song, “Arise and Shine”. Authored and composed by her in four stanzas, it has stirred many to greatness.

At the thanksgiving service of the school’s 60th Founder’s Day held in October 2019 at Williams Memorial Methodist Church, Ebute Metta, even our young saxophone revelation, Rapheal Lasisi, who lent helping hand to EJD, was dazzled by her dexterity on the piano as she rendered “Arise & Shine”. Many still relish the ecstasy and thrills of the historic reunion of the UCOSA WhatsApp Group on Easter Monday in 2015 with EJD on the Piano as we rendered “Arise and Shine” both at the beginning and end of the memorable event.

Born on Sunday January 7th, 1934, Mrs Soyannwo holds a BA (Dunelm) degree, a Post Graduate Certificate in Education from the University of London, an Associate of the Royal College of Music (ARCM), and a Masters in Education from the University of North Wales (Bangor). She’s had a long successful teaching career starting from the UK, Ghana, and Nigeria.

From 1960 to 1961, she had a stint at a Girls’ Secondary School in South of London during the PGCE course.  Mrs Soyannwo also taught at Winneba Specialist Training College, now University of Cape Coast, Ghana between 1961 and 1963.

A daughter of the Konotey-Ahulu family of the Krobo ethnic group, the largest of the seven Dangbe ethnic groups in southeastern Ghana, she got married in December 1962 to a Nigerian Port Engineer, Sofoluwe Olumide Soyannwo, at the chapel of Achimota School, her alma mater.

Between 1963 and1965, she accompanied her husband to the US, and returned to Nigeria in 1965 with their first child, Soniyi, to be followed by four more in relatively quick succession.

Mrs Soyannwo taught at Ibadan Grammar School from 1965 to 1968. They relocated to Lagos where Engr Soyannwo got a job with the Nigerian Ports Authority (NPA), Apapa. She also got enlisted on the teaching staff of our dear alma mater, then called United Christian Secondary Commercial College, Apapa where she taught English and Music from 1968 to 1973.

She later left for King’s College, Lagos where she taught between 1973 and 1984. She was appointed Vice Principal in 1983 and was granted a year’s study leave to pursue a master’s degree abroad.  She returned in 1984 and got appointed as Vice Principal in Queen’s College, Yaba, Lagos from where she voluntarily retired in 1986.

From 1986 to 1995, she worked as the first Administration Manager of Corona Schools Trust Council. Also from 1987 to 2018, Mrs Soyannwo worked with the MUSON School of Music, Lagos initially as a member of the school’s committee, then as part time piano teacher in the basic school, and later a full member of the staff of the MTN sponsored Diploma School as Deputy Director and Chief Examiner of the MUSON Theory and Practical Examinations till she voluntarily retired in July 2018.  She was also Director of Chapel Music, Chapel of the Healing Cross, Lagos University Teaching Hospital and College of Medicine between 1987 and 2004.

Looking back at her formative stage, EJD was nurtured in the Scottish Presbyterian Mission Schools between ages 5 and 12 – three of those years in boarding school.  She continued for the next seven years at the renowned co-educational Achimota Secondary School, from 1948 to 1954.

After her sixth form, she got a job on Tonal Languages at the University of London’s School of Oriental and African Studies for one year before she got admission into Trinity College of Music London for a year. And after being successful at the Professional Piano Teaching Diploma, ARCM, she got admission to the University of Durham’s St Aidan’s College, where she graduated with a BA in 1960.  She spent the first year after graduation successfully pursuing the Post Graduate Certificate in Education in Senate House, London University.

Reminiscing how she met her husband of 51 years, who died in 2013, she said it looked as if it was graciously arranged by the Lord who is present at each turn of her life.

They met in 1960 at a British Council Reception for Overseas Students in London Bible College. She was one of the old students invited to entertain the new arrivals.  After she gave a very exciting piano solo recital, Engineer Sofoluwe Soyannwo was one of the spectators who came along to congratulate those who entertained the crowd, and she was singled out by the young Port Engineer for a talk.

Narrates EJD: “The first time Sofoluwe met my father, Rev David Andrew Konotey-Ahulu, he prostrated in the Yoruba way, but my father, not understanding the Yoruba tradition, said he did not like being “worshipped”.  However, they later got along very well with each other because of his many visits to our flat during which the friendship blossomed.

“It was when it was time to leave for Ghana after my long stay in Britain, whilst on board the MVAureol, in August 1961 bound for Takoradi, Ghana, just before they left the ship, my father prayed for traveling mercies and safety for the sea liner. Sofoluwe’s parting words were addressed to my father and he said: “Papayo, with your blessing, I plan, God willing, to resign my appointment with the London Ports’ Authority within three months, go to Ghana and get married to Edna.  You will be hearing from my parents.

“I saw Papayo was emotional because traditionally, Krobo daughters, especially the eldest were expected to marry “at home” and be close to the family homestead when the older generation moved on.  When Sofoluwe realised that, he assured Papayo that we would raise our children in both Nigeria and Ghana.

“He kept his “promise” and even long after my parents had passed on, he still took us to Ghana often.  Our eldest daughter, Oladunni, studied at the Kwame Nkrumah University of Science and Technology, Kumasi, and she’s a lecturer there and married to Dr Edwin Laing. They have grown up daughters, both graduates.”

For the past 50 years, the Soyannwos chronicled their life graciously guided by the Lord with newsy newsletters. They covered the corporate lives of the five children, named the “Quiverful” after Psalm 127v5 and in their teens, they became the “Olive Plants”.

Music obviously runs in the family. “Starting from our parents, Rev Andrew and Mrs Chris Konotey-Ahulu.  Our father was taught the harmonium by the Basel Missionaries and played hymns at worship. Mother had been a women’s fellowship choir leader and taught tonic sol-fa and played the piano accordion, beautifully.  All their children, my siblings are musical and all our children have exhibited their talents in various ways, and in different instruments singing, the flute, violin, classical guitar, saxophone, the trumpet, and the piano.”

Who inspired Mrs Soyannwo to take up a Music career?

To that, she said: “Our home was full of songs so it was part of our upbringing. I attended a Scottish Mission Boarding School at 11. The missionaries, all young women, played the harmonium at morning and evening devotions. So I discovered that women could play the keyboard and decided I should play the keyboard when I grew up.

“During school holidays, I saw my big brother, also from boarding school, playing the organ at the Manse…I used to listen to him with so much interest. If he could play, I should too when I got to his age!…Then, at Achimota Secondary School, at 13, I asked my father to write to the school requesting for paid piano lessons for me.

“That’s how for the following seven years, I seriously studied the piano under Mr Robert Kwami, a great pianist; a professional from the Royal College of Music, and I later got a degree of Bachelor of Music. I was the first to take Music for A Levels. He then advised me to read  music…it’s a long story.

“During my music studies, I concentrated on the composers of Piano Music, Chopin, Schumann, Mendelsohn, then the classics. After continuous teaching for 60 years, I have navigated towards Christian Church music, re-harmonising hymn tunes and writing  descants. I am still not ‘retired’.”

How do I describe Edna Soyannwo?

“She thanks God for being born into a strong loving Christian family,  and raising a similar family. At age 88, she continues to study whilst continuing to  teach all levels of musicianship, choral, piano and theory.

“I thank God for His favour, and for giving me an understanding, supportive husband for 51years, and caring responsible children. The Lord has been gracious altogether.”

Mama Soyannwo is the founder, Yopeyo Foundation, which is committed to providing vocational and educational support mainly for her native Krobo girls in Ghana. This is aimed at young girls experiencing covert discrimination thus making it difficult for them to realise their God-given potential.

She is particularly grateful to the Almighty God for her many successes.

“I have had a very comprehensive music career, entirely packaged by the Lord to whom I ascribe all honour and glory all parcelled and labelled GRACE,” she says.

Life without her husband has not been too easy. “Since June 2013 when Pa So bowed out, taking decisions has been a solo affair; but I was helped by known prayer supporters and, thank God, the children with practical ideas to fill my empty hours. Continuing with my musical activities, which I enjoy because they are stress-free, have yielded good results”.

In October 2016, the Soyannwo family gathered for the 3rd year memorial service of their patriarch and worshipped at St Paul’s Cathedral Church in his ancestral home, Odogbolu, Ogun State. The day also coincided with his 84th birthday.

She recalls: “Our close family attended from Ibadan and Lagos. A small group I took with us provided the singing, accompanied by an Alto-Saxophone at the grave side.

“The epitaph, a hymn by John Greenleaf Whittier (1807 – 1892), was sung to the tune of ‘O Perfect Love’ and the last verse had the Descant I wrote to the hymn for Oladunni’s wedding 30 years ago.”