The Nation Newspaper

Category: Victor Akande

  • PROJECT ACT: PRESIDENCY MUST WARN KEMI ADEOSUN

    I am worried that out of the N3 billion Federal Government grant under the Project Act Nollywood scheme, N150 million may have just been frittered…,” I said on April 26, 2014, aiming to warn managers of the World Bank-assisted intervention fund for Nigerian filmmakers.

    The N150 million was expended on a batch of 23 filmmakers, who were considered to be members of the Directors Guild of Nigeria (DGN), for training at the University of Colorado, United States.

    Several other groups got money for different film courses in Nigeria, India, London etcetera, but my take is that it is difficult to achieve 10 per cent skill upgrade from the army of filmmakers that were supposedly trained in 2014. This has confirmed the fear of critics that the Capacity Building Fund (CBF) segment of the grant merely took the form of the derogatory national cake feast; an unpatriotic feast that every so-called filmmaker must partake.

    Some fine Nollywood films have been released since 2014 when the CBF was implemented; I am yet to come across any filmmaker who has attributed the greatness of any of the works to knowledge acquired from the CBF. I consider that segment of the fund of N300 million as a subtle scam.

    Understandably, the fund was doled out at the dawn of former President Goodluck Jonathan’s re-election bid, thus, it was unnecessary to probe eligibility of beneficiaries, let alone insist on result assessment mechanism.

    While I felt more comfortable with the Film Production Fund (FPF), a N700 million instrument of that scheme that eventually climbed to N800 million, the question of transparency and accountability still bedevil the scheme.

    A total of N642, 500,000 was said to have been committed to 92 applicants, representing 93 percent of total budget. Where are the films? The scanty and stale web portal of the grant did not indicate. Since 2014, we have yet to see 10 of the funded films in cinema, DVD, VOD, or on Pay TV. If the managers are business-minded, we should have a clear picture by now, of at least the 12 films already in post-production as at the time of disbursement. Since this appears difficult, what do we say of the 13 films already in production or the 68 in pre-production at that time?

    To show how inept the current Ministry of Finance is, in handling this project, the Project ACT-Nollywood portal was last updated in 2015, while disbursements have been carried out twice on the third instrument called the Innovative Distribution Fund (IDF).

    My argument has always been that the IDF should have been the first to be implemented, being the segment that is most auditable and able to determine Return on Investment (ROI). As if that error was not enough, the Kemi Adeosun-led Ministry appears to be bungling the process further with serious problem of priority and transparency.

    Why are the managers of this fund not being transparent with how the IDF has been disbursed so far?  This is the most sensitive and driving force of the other segments and the public needs to know who the beneficiaries are.

    The industry may do with some ‘expired’ filmmakers who scavenged for training abroad but will never make any film of it – same for some beneficiaries of the FPF who are yet to forward update on performance of production as stipulated, because they might have spent the money on other interests. But as far as the IDF is concerned, the effort of the few serious filmmakers will be jeopardised if it is not properly implemented. Hence, we shall continue to hold Adeosun accountable.

    This is a World Bank project, and the Federal Government has a duty to discharge it with all sense of responsibility if it must be sustained.

    What really is the problem here? Has the Ministry ‘dashed’ the money to those who have no business with distribution of films? Has Adeosun been arm-twisted by star power, and has given money to non-deserving stakeholders of the film industry? How much research was carried out on the national, regional or community spread of the distributors who got the grant? In the absence of the much-canvassed Motion Picture Practitioners Council of Nigeria (MOPICON), was the leadership of the Nigerian Film Corporation (NFC) that should be able to determine the true membership of the guilds and associations involved? What about the National Film and Video Censors Board (NFVCB) which granted licenses to the distributors?

    It is not enough to feed the public lies through some lousy press releases that speak big sums and try to impress us about the worth of Nollywood to the country’s economy. The essence of this project lies in its scientific calculations and projected values that are believable.

    Today, the only practical bail-out for Nollywood as an investment is in exhibition/distribution. We want to know how many community cinemas, at the least, will emerge from the IDF, and within how many years. This is what the potential investors need. This is what the next filmmaker planning to loan money from Bank of Industry would want to know.

    Who were the people given money for online distribution? What is their pedigree? What is innovative about what they want to do?

    How are the managers of this fund working in hand with the Nigerian Copyright Commission and relevant agencies on the need to minimise piracy? Of what need is N1.9 or N2billion distribution fund if the means of protecting right owners are not put in place before disbursing the fund?

    Who is fooling who? The Presidency must warn Kemi Adeosun, because her first strides on this project appear wobbled. From what is left of the fund, the Minister must present a blue print that will increase the sectors attractiveness from an investment standpoint and encourage future capital flows towards the sector, as the scheme has professed.

    For goodness sake this is Muhammadu Buhari’s administration and the ‘Change’ mantra must reflect in every dealings of the Federal Government.

    In this entire travesty, the sensitivity of the fund managers must be sanitized to ensure the actual development of Nollywood, not for showmanship, but for showbiz.

     

    – This piece was first published on  July 8, 2017

  • BACK TO THE MULTICHOICE-WON BBN DEBATE

    JUST when you think Nigerian government is through with an issue it considers serious, momentary impulse brings back the same old matter only for us to see how inconclusive we are with several matters. It is in the same manner that most elections have not been smooth sailing.

    The Minister of Information’s strong desire to transform the creative industry into a creative economy is obvious since assuming office, but his desire alone cannot turn things around overnight. This is evident from the fact that he had met several brick walls on some of his good plans.

    For instance, inability to get the National Theatre running for the just held Africa Movie Academy Award, AMAA, despite collaborating with Lagos State Government comes to mind. It is in the same manner that the Motion Picture Practitioners Council of Nigeria (MOPICON) bill, for which he set up a review committee, is yet to see the light of the day.

    It is important to sit back, digest the complexity of the entertainment industry, and study the Acts before making blanket statements that breed unnecessary tirades that make fun of genuine intentions.

    When the Federal Government said, last Saturday, that whatever we consume in Nigeria in terms of music and films, must be made in Nigeria, it was Alhaji Lai Mohammed speaking passionately and personally about patriotism, but his personal desire wasn’t in synch with creativity and the liberty that independent producers have on choice locations.

    “This government has agreed that henceforth, we cannot continue to go to South Africa or any other country to produce our films and then send them back to be consumed in Nigeria,” he said.

    This was clearly a gaffe, leading to insults from people whose anger was more pronounced along political divide.

    But now that the Minister has rephrased his statement, and narrowed perceived transgressions to Nigeria branded shows like the last Big Brother Naija (BBN) and the ongoing The Voice Nigeria music reality show, which, like the former, is being shot in South Africa, one can only say, the rephrase makes sense.

    However, I am of the opinion that rather than make patriotic pronouncements that sound draconian, we can make more sense if government uses its might to put up structures that naturally will lobby the market force in a way that it would be a business folly to shoot reality shows outside Nigeria.

    For example, I like the idea the Minister’s plan to establish a one million dollar Venture Capital to boost the creative industry. I like the idea of the Creative Industry Summit, which, in structure and format appears to be the best kind of referendum ever experienced in the entertainment sector. I like the FG MoUs with Tony Elumelu Foundation, Bank of Industry and the British Council for the creative sector. I like the plan to revive the National Endowment Funds for the Arts.  I like the proposed plan to overhaul the National Theatre. I like the fact that international treaties are a possibility now that the entertainment industry is under the Ministry of Culture. I like the Innovation Distribution Fund segment of the Project ACT Nollywood grant, albeit if implemented from a very shrewd approach. In all, I like ideas that provide enabling environment for creativity to thrive.

    However, I think that not to encourage international competition is a defeatist attitude, even if our creatives are shooting for the local market. Unfortunate for this type of mindset, the world is already a global village and like they say, with a sense of priority for the Nigerian product, there is need to ‘Glocalise’.

    Based on current realities, I maintain, just like I did during the hot debate about shooting Big Brother Naija in South Africa that Multichoice was right in their business decision. Anyone in their shoes would do the same.

    After all, the Broadcasting Code and the Advertising Code say that for you to classify a product as a Nigerian product, it must have a certain percentage of Nigerian content.

    I guess that this clause was what stalled the investigations that the Minister asked Nigerian Broadcasting Commission, NBC, to conduct while the last BBN was running.

    How could the NBC have found fault with Multichoice when all housemates were Nigerians; when the popular Big Brother Voice was that of a Nigerian; when the series Director, Gbenga Kayode is a Nigerian and Nigeria-trained; when head of content and about nine other members of his team were Nigerians; when Title sponsor, Payporte is a Nigerian online retail company; when foods, drinks, fabrics, decors, props are largely from Nigeria; when English, pidgin, and other Nigerian languages were permitted on the show; when Nigeria’s major language interpreters were engaged on the show; when all the eviction live show performers were Nigerian artistes; when all the coaches/mentors brought on the show were Nigerians; and the prize money of 25 million that went to Efe was in Naira.

    If the Minister decides to get NBC to amend the Broadcasting Code by saying Nigeria-branded shows like Big Brother Naija (if Naija is Federal Government copyrighted at all) and The Voice Nigeria must be produced in Nigeria without having a competitive studio and relevant infrastructures in place, we would only have succeeded in teaching the likes of Multichoice a new business trick.

    Supposing they decide to drop Naija and bring back Big Brother Africa. I don’t see how this makes any difference knowing that Nigerian housemates always hold sway with great followers that help popularize the show on the continent. What about if The Voice Nigeria is simply called The Voice just so it can be shot in South Africa?

    Looking at it critically, where you shoot a reality show is not as important as the number of Nigerians and the value of ‘Nigerianess’ in the show.  Indeed, we need to get less emotional and be pragmatic.

  • …ENTERS THE ENTERTAINMENT SENATOR

    …ENTERS THE ENTERTAINMENT SENATOR

    THE Upper Chamber has witnessed all sorts of political dramas – from Martin Luther King’s kind of enchanting oratory to more furious displays of wiles, street-like in-fighting, subtle power plays, partisan outwitting, and most recently, Dino Melaye’s costume slapstick and the viral ‘Ajekun Iya’ themed war-chant skit. But a new perspective will be added when the newly elected Senator for Osun West, Chief Ademola Adeleke, moves to Abuja.

    I have not met this man from Ede, Osun State personally, but aside the political permutation that brought him to public glare, some of us were privy to his liberal lifestyle and passion for creative talent, being an uncle and one of the earliest supporters of the career choice of rave artiste, David Adeleke, aka Davido.

    Therefore, it didn’t come as a surprise to me, seeing him in a leaked pre-election dance video, presumed to pose a question mark on his choice as the best man for Osun West Senatorial District. In a way, those who helped to circulate the video did with mischievous intent, bordering on his moral or otherwise sense of decency and maturity to lead, not just because he ‘bared’ it all in that video shot somewhere in America but also because his dance partner is a young lady.

    But like Jomo (played by Kenyan actor Peter King) posited in Kunle Afolayan’s ‘The CEO’, “Who defines best…..?” now we know; the Osun people have given their definition of best in the by-election of July 8, 2017 by choosing the free-spirited Adeleke over the perhaps politically prim Mudashiru Husain who hails from Ejigbo Local Government as myself.

    Incidentally, his dance partner in the pre-election video dance to Tekno’s ‘Duro’ was his sexy daughter Nikos Adeleke; Davido’s cousin and sister to ‘Cucumber’ crooner B-Red and ‘Dari Jimi’ singer Sina Rambo.

    To show that one does not change a winning formula, Adeleke performed a latest dance video in celebration of his victory at the polls.

    In a move that appears spiteful of his political opponents, the new Senator deployed his dance skill in a mesmerizing video that had gone viral on social media?

    The potpourri of ‘shoki’, ‘etigi’, ‘galala’ and other dance steps all got an icing – dexterity with the pot belly. Who does that!

    Ademola Adeleke who defected to the Peoples Democratic Party (PDP) on the ‘eve’ of the Osun by-election, contested against Mudashiru Husain of the All Progressives Congress (APC), defeating the latter in a landslide victory.

    But beyond the political undertone which the victory dance may have portrayed, it presented a further understanding of the entertainment gene in the Adeleke family of Ede, Osun State.

    It is my wish that Adeleke’s simplicity and regard for creative talent will not only add to the few showbiz-enamored senators to fast-track some of the unattended bills that will reposition the Nigerian art and entertainment industry.

    That said, Osun State needs more social life just as Ejigbo, which I also considered being won by Adeleke, also needs to wear the international community face it deserves.

    If you don’t bungle this opportunity opportunity, there will be more from where this victory came from, and Isiaka Adeleke can only smile from above.

  • PROJECT ACT: PRESIDENCY MUST WARN KEMI ADEOSUN

    I am worried that out of the N3 billion Federal Government grant under the Project Act Nollywood scheme, N150 million may have just been frittered…,” I said on April 26, 2014, aiming to warn managers of the World Bank-assisted intervention fund for Nigerian filmmakers.

    The N150 million was expended on a batch of 23 filmmakers, who were considered to be members of the Directors Guild of Nigeria (DGN), for training at the University of Colorado, United States.

    Several other groups got money for different film courses in Nigeria, India, London etcetera, but my take is that it is difficult to achieve 10 per cent skill upgrade from the army of filmmakers that were supposedly trained in 2014. This has confirmed the fear of critics that the Capacity Building Fund (CBF) segment of the grant merely took the form of the derogatory national cake feast; an unpatriotic feast that every so-called filmmaker must partake.

    Some fine Nollywood films have been released since 2014 when the CBF was implemented; I am yet to come across any filmmaker who has attributed the greatness of any of the works to knowledge acquired from the CBF. I consider that segment of the fund of N300 million as a subtle scam.

    Understandably, the fund was doled out at the dawn of former President Goodluck Jonathan’s re-election bid, thus, it was unnecessary to probe eligibility of beneficiaries, let alone insist on result assessment mechanism.

    While I felt more comfortable with the Film Production Fund (FPF), a N700 million instrument of that scheme that eventually climbed to N800 million, the question of transparency and accountability still bedevil the scheme.

    A total of N642, 500,000 was said to have been committed to 92 applicants, representing 93 percent of total budget. Where are the films? The scanty and stale web portal of the grant did not indicate. Since 2014, we have yet to see 10 of the funded films in cinema, DVD, VOD, or on Pay TV. If the managers are business-minded, we should have a clear picture by now, of at least the 12 films already in post-production as at the time of disbursement. Since this appears difficult, what do we say of the 13 films already in production or the 68 in pre-production at that time?

    To show how inept the current Ministry of Finance is, in handling this project, the Project ACT-Nollywood portal was last updated in 2015, while disbursements have been carried out twice on the third instrument called the Innovative Distribution Fund (IDF).

    My argument has always been that the IDF should have been the first to be implemented, being the segment that is most auditable and able to determine Return on Investment (ROI). As if that error was not enough, the Kemi Adeosun-led Ministry appears to be bungling the process further with serious problem of priority and transparency.

    Why are the managers of this fund not being transparent with how the IDF has been disbursed so far?  This is the most sensitive and driving force of the other segments and the public needs to know who the beneficiaries are.

    The industry may do with some ‘expired’ filmmakers who scavenged for training abroad but will never make any film of it – same for some beneficiaries of the FPF who are yet to forward update on performance of production as stipulated, because they might have spent the money on other interests. But as far as the IDF is concerned, the effort of the few serious filmmakers will be jeopardised if it is not properly implemented. Hence, we shall continue to hold Adeosun accountable.

    This is a World Bank project, and the Federal Government has a duty to discharge it with all sense of responsibility if it must be sustained.

    What really is the problem here? Has the Ministry ‘dashed’ the money to those who have no business with distribution of films? Has Adeosun been arm-twisted by star power, and has given money to non-deserving stakeholders of the film industry? How much research was carried out on the national, regional or community spread of the distributors who got the grant? In the absence of the much-canvassed Motion Picture Practitioners Council of Nigeria (MOPICON), was the leadership of the Nigerian Film Corporation (NFC) that should be able to determine the true membership of the guilds and associations involved? What about the National Film and Video Censors Board (NFVCB) which granted licenses to the distributors?

    It is not enough to feed the public lies through some lousy press releases that speak big sums and try to impress us about the worth of Nollywood to the country’s economy. The essence of this project lies in its scientific calculations and projected values that are believable.

    Today, the only practical bail-out for Nollywood as an investment is in exhibition/distribution. We want to know how many community cinemas, at the least, will emerge from the IDF, and within how many years. This is what the potential investors need. This is what the next filmmaker planning to loan money from Bank of Industry would want to know.

    Who were the people given money for online distribution? What is their pedigree? What is innovative about what they want to do?

    How are the managers of this fund working in hand with the Nigerian Copyright Commission and relevant agencies on the need to minimise piracy? Of what need is N1.9 or N2billion distribution fund if the means of protecting right owners are not put in place before disbursing the fund?

    Who is fooling who? The Presidency must warn Kemi Adeosun, because her first strides on this project appear wobbled. From what is left of the fund, the Minister must present a blue print that will increase the sectors attractiveness from an investment standpoint and encourage future capital flows towards the sector, as the scheme has professed.

    For goodness sake this is Muhammadu Buhari’s administration and the ‘Change’ mantra must reflect in every dealings of the Federal Government.

    In this entire travesty, the sensitivity of the fund managers must be sanitized to ensure the actual development of Nollywood, not for showmanship, but for showbiz.

  • LOVING THE NFC SEXTET

    BARELY three months after his appointment as Managing Director of Nigerian Film Corporation, his proverbial eggs are beginning to hatch, and as the hatchlings are stepping out of the cracks, it appears they only need the purest of fresh air to develop strong wings and fly. This doesn’t look like a long time coming…

    First, I was a witness to the commissioning of two ultra-modern halls of residence for students of the Nigerian Film Institute and Media Arts Studies at Lamingo, the permanent site of the film agency last month, and was wowed by the wide acceptance of this new man within the shortest time, in spite of initial reservation for his doctoral background – of course the industry had an ugly experience in the hand of a non-filmmaker.

    If you think Maduekwe’s acceptance was a mere expression of relief from the previous, I feel that our short span for tolerance would have sprouted by now – the doctor continues to push the envelope with passionate and political will to succeed and one is yet to hear a constructive nag.

    Beyond the hostel accomplishment, the choice of guests at the commissioning pointed to a methodical approach whereby human resources were harnessed in policy makers like the Chairman House Committee on Information,  Hon Olusegun Odebunmi; Chairman, Senate Committee on National Orientation and Information, Senator Suleiman Adokwe, wife of the governor of Plateau State, Mrs. Regina Lalong; wife of the Speaker of the Plateau State House of Assembly, Mrs. Esther Azi; Minister of Information and Culture, Alhaji Lai Mohammed, who was represented by Executive Director, Programmes, NTA, Mr Wole Coker, Royal Fathers and others.

    The first evidence that appeared will be coming from the romance is the long yearning by practitioners to have the NFC transformed from a Corporation to a Commission. Odebunmi and Adokwe made some positive comments in that direction, just as the First Lady appeared enamoured to get her husband to do more for the permanent site of the Corporation.

    I took home two remarks used to describe Maduekwe at that occasion: ‘Man on the move’ and ‘Comrade MD’. And I am glad this is not about my personal opinion. Maduekwe appeared prepared for Nollywood. Like a hybrid approach, he deploys all that are needed to ‘glocalise’ the film industry to achieve a win-win result.

    Now, there is a new acronym that may soon be used to describe a new life for film practitioners in Nigeria: GGL (Glamorous Good Living).

    During his second meeting with stakeholders in Lagos on Thursday, June 29, the new NFC chief intimated them of six action plans that I find too beautiful to ignore. These can be best captured by saying NFC is walking the talks with a state-of-the-art post-production studio; re-branded ‘Zuma Film Festival’; a ‘Nollywood Smart Card’ scheme; ‘Nigerian Film Parliament’ building; a ‘Nollywood Rock of Fame’ arena and ‘Rock of Fame Award’ show.

    Under the sextet, the NFC Lagos office is expected resume some of its earliest functions with the restoration of a post-production studio that is not intended for commercial purpose, but complementing the needs of filmmakers in line with the agency’s developmental role.

    As part of the ways of driving the country’s tourism, NFC’s leadership by example intent is to ensure that foreign filmmakers attend Nigerian film festivals the same way that our filmmakers route Cannes, Toronto, Venice etc. The biennial ZUMA Film Festival is to resume in December 2017, after 2014 when it was last hosted.

    Maduekwe’s short romance with the Plateau State government has also earned the NFC a gigantic edifice on the rock. The building which is expected to be commissioned in July will serve three lofty ideas: The Nigerian Film Parliament, a House of Assembly complex that is exclusive to filmmakers; a Nigerian Movie Rock of Fame where honoree filmmakers and actors will have their names engraved on the rock upon which the edifice is erected as against the usual Hall of Fame; and a ‘Rock of Fame Award’ to form this package to reward creativity with pomp.

    Finally, the idea that really suits the GGL is the Nollywood Smart Card, a compact with facilities like the NHIS and Life Assurance. Maduekwe explained that it is also a discount card that has online linkage to members’ biometrics and professional data. “In case there is any need to crosscheck the identity of the holder, all that needs to be done is go online and you are taken to the data page. The NHIS is also diversified; it is not meant to host a single provider, but at least 10 providers so that wherever the holder is, they have access to a provider. NFC will be liaising with NAICON to negotiate rock-bottom premium.”

    What more can one expect from an NFC to show its operations are tandem with the dreams of Nigerian filmmakers? How more can one expect of an agency to use government policy to cement an idea like the Nollywood Smart Card? And this only seems like the first stage of other plans to come…

  • ANOTHER FAILED DATE WITH JUNE 17

    PLANNING is what it is: the process of developing strategies for something; a systematic approach to an objective.

    To borrow from Wikipedia; “Planning (also called forethought) is the process of thinking about and organizing the activities required to achieve a desired goal.

    While Nigeria may also lay claim to this process, in trying to achieve a transition from analogue to digital broadcasting, otherwise called Digital Switch-Over (DSO), our weakness has always revealed that what we call plans are not planning in the real sense of the word.

    Most of our leaders went through the Boys Scout organisation in their yore, but little about that is reflected in their approach to leadership today. This is because while doing the so-called planning, the word, prepare or preparation; a basic of the Boys Scout motto, is not an active ingredient in their understanding of a plan process.

    In other words, our method is such that plans and objectives flow concurrently, making it seem like the birth place of ‘Fire Brigade Approach’ is Nigeria.

    For some other countries, the journey towards the preparation for digital switchover started in June 17, 2006, which Nigeria joined the rest of the world in signing international and regional agreement to conclude digital migration by June 17, 2012. However, actual preparation may have started in Nigeria in 2015, after the country woke up to the reality of missing the first deadline. This is why even in 2017; we are still grappling with a switchover date.

    For a world integration project like the much-talked-about switch-over from analogue to digital broadcasting, sensitive governments have evolved proactive and systematic line of actions to ensure that they are not caught napping when possible interference from neighbouring countries hit them. They have also ensured that the citizens enjoy the choice of clearer picture, ample channels and the succor of subsidy on the Set Top Box (STB); the conservative device that will provide signal to the existing television sets after switch-over.

    Between 2009 and 2012, nothing happened to advance the process of migration because government was said to have kept the recommendations of a Presidential Advisory Committee (PAC) it inaugurated in 2007, and did not release the white paper for digital switch-over.

    When that was eventually done, a new date of June 17, 2015 was fixed. Again, that was truncated because the Federal Government did not release funds meant for the process to the National Broadcasting Commission (NBC). And while a country like Niger seeks to understudy whatever successes Nigeria may have achieved in the process so far, we have missed target again – for the third time.

    The leapfrogging tendencies of a country like Nigeria becomes worrisome considering the fact that a global agenda of this nature is not just a complex transition, but one which seeks common understanding, diplomacy and cooperation of neighbouring countries within the continent.

    Evidently, migration to digital broadcast transmission technology has begun, with countries like France, United States, United Kingdom, Sweden and New Zealand already advanced in their migration programmes, even as Finland and Mauritius have already switched off from analogue.

    While South Africa, which began the process years back, may not have overcome the complexity of the transition, there is no overemphasizing why Nigeria; the supposed giant of Africa is still lagging behind.

    Analysts have reasoned that for a smooth transition, the government of a country must consider the fact that the STB will take a long while to be manufactured. And although the price of the decoder has dropped ever since a higher version dubbed DT2 entered the market, it is also pertinent to consider the eligibility for a subsidized decoder based on the number of TV Households (as it is the thought in some countries). This may be a challenge in a country like Nigeria that is still struggling with population data and, to justify government’s claim, where TV licenses are not paid for.

  • MOJI OLAIYA: BAYOWA’S UNCREATIVE LICENCE

    IN a supposed bid to immortalise the memories of late actress Moji Olaiya, a video documentary of her funeral ceremonies is out, and one can only be put off, first hand, by the offensive title: Canada to Grave.

    Haba! What manner of title is this, coming from Gbenga Adewusi’s Bayowa Films and Records, one of the once popular Yoruba audio-visual production outfits of the pre-Nollywood era.

    With such title by Gbenga Adewusi, it not only tells how old school and waning the creative energy is, it says a lot about why he (Bayowa) has lost relevance among notable filmmakers of today. Indeed, when was the last time anyone saw a Bayowa production?

    For an attempt which could have been a sort of comeback for the old man, considering the place of Moji Olaiya in the Yoruba film sector, Adewusi’s morbid caption for the video is a disappointment.

    Did Adewusi cast the title in Yoruba before translating to English or was he just overwhelmed by an attempt to give his work an English title?

    Canada to Grave? How does this sound? Grace to grass? Does this celebrate the deceased or demean her?

    In title crafting, the most important elements come to play. How is Canada the major element in Moji Olaiya’s life, especially for a work of art that is meant to eulogise her memory? Oh, I see: the sort of glory that we attach to a visit to Europe and America right? Is Canada Jerusalem or Mecca?

    Mr. Adewusi, you goofed in your artistic plot and simply made a mess of the essence of that video.

    The point of return for the late actress couldn’t have been Canada because her visit to that country did not define what she stood for in any way. If Moji Olaiya had died in Jerusalem or Mecca, perhaps using either location as subject of the phrase could work. And this is only because we are quite sentimental in this part of the world when it comes to the issue of religion.

    Added to this dark title is the fact that all parties in the video production could be taking advantage of the actress’ demise to make money through DVD sales or online streaming. With such ridiculous title, Adewusi has no doubt earned some traffic to his unfamiliar Yoruba Swag online TV. And that’s all I see to this effort.

    It is imaginable that if asked, the producers of this work may claim it is another fundraising initiative for support the deceased family; how true?

    During the artistes’ night at the Blue Roof arena of LTV 8, Lagos on Tuesday, June 6, some guys selling almanacs of the late actress were chased out of the venue for daring to make money off the situation. I cannot see a clear difference.

    The title of the documentary is off-putting, but I needed to see if it had any better substance. A shoddy work as expected. I was at the wake-keep and a video of the event could have been done better.

  • Like Funmi Martins, like Moji Olaiya

    BOTH were Yoruba cross-over actresses who died in their prime, leaving so much pain in the heart of fans and colleagues in the film industry. They were beautiful and charming individuals who had touched their friends and acquaintances in special ways, hard to forget.

    They both died in May, though 15 years apart. Their paths may have never crossed closely, but they had so much in common, including dying of cardiac arrest not too long after childbirth.

    The gathering at the Blue Roof of LTV 8, Ikeja, Lagos, for tributes for Moji Olaiya on June 6, 2017 was not too different from the tribute in honour of Funmi Martins on May 10, 2002 at Eko FM, also in the same premises.

    Both deaths were too sudden and shocking to their colleagues as they did not fall ill for long before their demise.

    Hundreds of Nigerian artistes gathered and many had so much to say about their amiable personalities. They were humble and followed peace with all men.

    Both were given befitting burials, handled by notable funeral outfits.

    Funmi Martins’ cream-colour casket was provided by M.I.C. while Moji Olaiya’s was handled by equally classy Ebony.

    But more importantly was the life both lived.

    Those who never knew Moji beyond seeing her on the screen wondered why there were so many sympathisers at her funeral. And I imagined that it was the same feeling when Funmi Martins died.

    People said Moji was fun to be with, had a warm smile, was gentle, soft-spoken, nice, respectful, caring, dependable, humble, forgiving and what have you.

    These qualities defined the crowd of sympathisers which most likely was the same with Funmi Martins.

    Moji, 42, niece to veteran highlife maestro Dr Victor Olaiya, died two months after she had her second baby in Ontario, Canada. Although the childbirth was without complications, as the baby arrived two months earlier to her Expected date of Delivery (EDD), reports say the premature delivery saw the actress in and out of hospital for routine medical attention for mother and child.

    Irony however, played a fast one on the thespian whose health condition appeared to have improved, as seen in a lively Instagram picture with her child two days earlier before her death. She was thanking God for the gift of life.

    Moji’s blood pressure suddenly rose in the early hours of Thursday May 18, 2017 (Nigerian time). And on her way to a Canadian hospital from a friend’s house in Ontario, she gave up the ghost.

    Notable film marketer and CEO of Okiki Films and Music Production, Mr. Esan Sunday, who confirmed her death to The Nation spoke amidst tears. She was a regular cast in most of his films.

    Filmmaker Yemi Amodu, commented on the actress’ amiable nature. “She was a very lovely person; so humble, and she was so committed to her career, she did everything possible to realise her career. Moji Olaiya lived so freely, she was a free giver too. However, definitely everybody must have their bad side, but I assure you that the good things I can say about her is about 90 percent,” he said.

    Continuing, Amodu said, “I and Moji have worked together a lot, in fact, I have a film I am yet to release where she played the role of Akintola’s wife. It’s a story about Awolowo and Akintola.”

  • JIDENNA: NIGERIA’S EXPORT TO THE WORLD

    JIDENNA: NIGERIA’S EXPORT TO THE WORLD

    IN 2015, his song, ‘Classic Man’ debuted at number 49 on Billboard Hot R&B/Hip-hop Airplay chart; it was nominated for Best Rap/Song Collaboration at the 58th Grammy Awards, and scored a pivotal scene in Moonlight. In June of the same year, he performed the song with Monáe at the BET Awards and also received an award for Best New Artist at the 2015 Soul Train Music Awards in November 2016. He is a Nigerian. His name is Jidenna Theodore Mobisson.

    With that single song that matched his hyper-stylized image, Jidenna seemed to be the very model of a one-hit wonder. Then came his debut album, ‘The Chief’, released on February 17, 2017, which included the 90s-style banger, Long Live the Chief, The Let Out (with Quavo of Migos) and Bambi, a song about a married ex-girlfriend.

    Born in 1985 in Wisconsin, U.S., to a Nigerian father and an American mother, the singer who had his early childhood years in Enugu and Lagos before moving with his family to Boston, Massachusetts at the age of nine, loves to flaunt his Nigerian roots by wearing traditional Nigerian print outfits. Aside being an artiste, he’s “aggressive about being progressive” and wants to foster a tech boom in Africa. “I’m out here to rule a decade, bro,” he said.

    His father named him Jidenna which means ’embracing the father’ in Igbo. And today, he has earned for himself the moniker, ‘The Chief’, becoming one of Nigeria’s biggest exports to the world in the process.

    Signed to Janelle Monae’s Wondaland Records, and distributed via a subsidiary of Epic Records, record executives were so excited by the ‘Classic Man’ single that they wanted a speedy release, even before Jidenna had any other solo songs ready.

    “The classic man is a distinguished gentleman,” Jidenna said of the message of his song. “He keeps his gloves dirty but his hands clean. He is absolutely certain that less is more, that actions speak louder than words, and that quality is better than quantity. He avoids making excuses and accepts both praise and criticism with the same cool. He doesn’t like to complain unless it’s funny or interesting. A classic man is observant, so he is naturally concerned with the details of his appearance and the presentation of his reputation. Thus, he is sharp in mind, body, and style.”

    His late dad, Chief Oliver Mobisson, attended Massachusetts Institute of Technology (MIT) on a government fellowship. Upon his return with Jidenna’s American mother, he worked at Enugu State University and created ASUTECH 800, one of the first computers to be manufactured in the country.

    After a horrible experience with kidnappers, Jidena’s mother relocated to the United States with him, while his father joined them years later. As Jidenna recalls, his dad, who was always very stern, became very irrational after suffering a heart attack. He went from demanding perfect grades to berating his son for becoming first in his class. “Ah-ah, you’re number one, now what will you do? Now you can only go down from number one! Why are you number one?”

    However, in the last months of Chief Oliver’s life, father and son finally bonded over his ability to create music. And Jidenna said his father even gave him some advice.

    “He said, ‘If you’re gonna do music, make sure you put a mirror to the world, so people see themselves,” Jidenna who majored in Ritualistic Arts at Stanford University, said.

    “Make sure you invent yourself; you invent music that’s never been heard. Invent an album that’s never been done. If you are not innovative, then you are not my son.”

    Jidenna took the advice. According to him, “my father did something to my brain where I’m always searching for extreme excellence.”

    Today, fans describe him as Nigeria’s export to the world.

  • A second look at Alex Enyengho

    I happened to be one of the many Nollywood stakeholders who rebuffed, albeit diplomatically, the ideals and personality of Nollywood film producer, Alex Enyengho, as being a troublemaker.

    Away from such impulsive perception, time and time have allowed for a gradual review of this personality and have enabled some light casting on other elements of his. And these are akin to the philosophy of the black pot birthing the white pap.

    Prompted by the announcement from Cannes, of the re-election of Enyengho as the Vice President (Africa), International Federation of Film Producers (FIAPF), it is time to take a second look at this man, just so Nollywood does not continue to throw the baby with the bathwater.

    It may be difficult to measure how much goodwill Nollywood may have lost by not latching on to Enyengho’s position at FIAPF since his first election in 2013. It may be worth the while of Nollywood if practitioners befriend him on the second lap, if only as part of the international collaboration that the industry crave.

    The gap had existed because many assume that Enyengho is serving a personal interest at FIAPF, thus, we have not had the moral courage to hold him accountable for the last four years. The position may have helped Enyegho in his areas of personal exposure and business development; I believe it would offer Nollywood more if stakeholders think of collective interest.

    Suffice to say, it is time to put aside personal differences and think communal. Things do not always come out the way of the majority; otherwise, Donald Trump’s election wouldn’t have defied all logics. If we cannot beat Enyengho, let’s join him. After all, he rose to the position, riding on the back of Nollywood.

    I recall that upon assuming office in May 2013, Enyengho said: “My election is not about me or ANCOP. It is about deepening the Nollywood brand. It is about attracting maximum respect to Nigerian film producers at the international level. It is about Nigeria. It is about Africa. This is a confirmation and testimony to the fact that we are on the right track in Nollywood. The election is over. We must get to work immediately. Because of my humble experience in the industry, I know I shall hit the ground running with a view to ensuring that value is added to Nollywood and the African film community as a whole within the ambit of the lofty aims and objectives of FIAPF.”

    Flashback to the period preceding his first FIAPF election; the Delta State-born filmmaker, I guess, got into trouble after ceding his membership of Association of Movie Producers (AMP) to float a parallel one called Association of Nollywood Core Producers (ANCOP). The controversy surrounding his exit of AMP, alongside the association’s erstwhile president, Madu Chikwendu and others brought Enyengho under the media spotlight than ever, but he was received with mixed feelings.

    Personally, I’d always craved a unified front for the Nigerian motion picture industry. I take exception to the multiplication of associations and guilds in the film industry, thus, it was easy for me to join the bandwagon of those who found him controversial: of course he is; every fighter is.

    I call this guy a fighter because he lives it: vocal, fearless, assertive and ‘soloist’. But because Nollywood, ever since I grew up to know the industry, has been in disarray, largely due to trust factor, it has been an issue, appreciating the potential of Enyengho and others like him who often laud their grievances.

    Enyengho could have proved himself right in some cases because there are soiled hands in the industry and too much politicking at the detriment of collective interest. Therefore, whether or not he blows the whistle for personal interest, some of his victims have also failed to approach equity with clean hands. If any was mischievous or egocentric, they only met their match in Enyengho.

    I wish to say that internal wrangling is not what Nollywood needs. The brilliant elements in Nollywood (and I bet there are just too many if you visit Film4Life for example) should harness forces and blow the external whistle that can bring about change in governments’ perception of, and respect for Nollywood. Otherwise, the NFC and NFVCB leadership positions that some practitioners crave may continue to be a far cry. The much talked about Motion Picture Council of Nigeria (MOPICON) bill may also remain a dangling carrot, as long as practitioners continue in their old ways.

    I was a member of the MOPICON review committee because I share the ideal of organization, order and discipline as against what is obtainable in Nollywood today. That was the closest I got to Enyengho who was also on that committee. He continues to push the envelope of MOPICON passionately, not minding that it will cost him the association he pioneered.

    During those weeks that the committee met, he displayed unflinching loyalty and commitment to the cause. He was punctual and regular. It didn’t matter that it was a ‘thankless’ job that we all did. During the review sessions, he was as military-like as usual. He disagreed with some members based on ideas, but superior argument always took the day, and he succumbed to the verdict whether or not it tallied with his initial position.

    The position of Vice President of FIAPF is not for Enyengho, let sentiment give way to rational logic. Nollywood needs this platform. Let’s make it happen in Cannes or elsewhere next season.