What makes a movie real or not real is not the medium, but the heart and soul of the story in motion picture.
- EKENYERENGOZI Michael Chima
Using AI as a tool for making movies is like the softwares used for the production of animated movies: Autodesk Maya; the industry standard for 3D cinematic feature films, modeling, advanced character rigging, complex simulation, and rendering; Blender, a powerful, free, and open-source 3D creation suite used by independent filmmakers for everything from modeling to 2D/3D hybrid animation; Pixar RenderMan; Pixar’s proprietary, high-quality rendering software that is widely utilized by major studios to calculate photorealistic lighting, shading, and geometry; Houdini, the go-to tool for visual effects (VFX), specifically procedural simulations like fire, smoke, water, explosions, and destruction and ZBrush, a digital sculpting tool used by character designers to create highly detailed, clay-like 3D models before they are animated.
Hollywood uses a combination of industry-standard software programs for different stages of the computer-generated imagery (CGI) and visual effects (VFX) pipeline for many of the blockbusters of superheroes and epic films.
AI has made CGI more advanced for the best film and TV productions.
How AI Connects with CGI Workflows:
Faster Ideation: Artists use AI tools to quickly generate mood boards, concept art, and visual references before building 3D models.
Automated Tasks:
AI plugins inside traditional CGI software automate time-consuming jobs like motion tracking, rotoscoping, and rigging.
Enhanced Physics: AI analyzes real-world physics to help CGI software render realistic effects like fire, smoke, and water simulation.
Texture and Detail: Tools use machine learning to upscale textures and clean up render noise, reducing render times.
Key Differences Between AI and CGI
Control:
CGI software allows artists to manually adjust every vertex, light source, and camera angle.
AI generates pixels based on probability rather than precise measurements.
Consistency: CGI keeps objects and characters identical across different camera angles.
AI can alter details or geometry between generations if the user does not have the technical expertise for the correct and exact photography and cinematography.
Image produced with Google Gemini
@Ekenyerengozi Michael Chima. All rights reserved
There were both male and female leviathan sea monsters.
I have completed the generations of one headed, three headed and seven headed leviathan sea monsters for my epic trilogy on the leviathan that Almighty God said that humans cannot conquer or tame it, but God can and will destroy it.
Human Helplessness vs. God's Supreme Power
In Job 41: God asks Job if he can catch the Leviathan with a hook, tie its tongue down with a rope, or pierce its skin with a spear (Job 41:1–2). God emphasizes that no human has the strength to stand up to it or subdue it. The point is to show human weakness and humility compared to the Creator.
"Psalm 74:14:
States that God broke the heads of the leviathan in the waters.
Isaiah 27:1:
Prophesies, “In that day, the Lord will punish with his sword—his fierce, great and powerful sword—Leviathan the gliding serpent, Leviathan the coiling serpent; he will slay the monster of the sea.”
Video The leviathan sea monster with three heads and forked tongues in roar in the thunder storm and lightning in the turbulent sea.
Video creation and production design: Ekenyerengozi Michael Chima Generated with Adobe Firefly Gemini cinematic sound effects of thunder claps and lightning flashes from my file of sound effects.
My short film, "Ngozika and the Magic Water Pot" was crafted and not prompted.
Crafting and prompting AI films involves combining structured text generation (like Claude or GPT) with specialized video-generation tools (like Seedance, Luma, or Higgsfield) to maintain character and scene consistency.
Core AI Filmmaking Workflow
Concept and Scripting: Write your baseline logline or narrative idea, then use an assistant like Claude to break the concept down into a structured script, scene list, or shot-by-shot prompts.
Visual Anchors and Character Sheets: Generate reference images or character turnaround sheets first using tools like Nano Banana Pro or Ltx Studio to lock in faces, wardrobe, and distinct visual styles before animating.
Prompt Engineering by Category:
Structure prompts with explicit cinematic terminology—specifying camera lenses (e.g., 35mm T1.4), specific lighting setups, framing angles, and precise motion rather than vague descriptions.
Generation and Iteration: Feed reference character IDs and storyboard frames into video models (such as Higgsfield or Luma Dream Machine) to generate short clips, using start and end frames to control pacing.
Editing and Audio: Export your clips into a traditional non-linear editor like Da Vinci Resolve, and layer in voiceovers, background tracks, and sound effects using platforms like ElevenLabs.
Crafted AI films rely on a structured pre-production workflow, whereas prompted AI films rely on direct text generation.
Prompted AI Films
Direct generation: You type a text command into an AI video generator and let the model create the scene instantly.
Speed: Fast and useful for quick tests, concepts, or abstract clips.
Drawbacks: Often results in inconsistent characters, shifting backgrounds, and a disconnected narrative feel.
Crafted AI Films
Structured workflow: You plan the story, script, and visual style before generating any video.
Asset control: You create specific character sheets and location references to keep appearances uniform across every shot.
Post-production: You edit clips together in software like Da Vinci Resolve or CapCut to fix errors and add synchronized sound.
To make a full story-driven AI movie, you must use the crafted approach. Direct prompting alone will cause your characters, lighting, and backgrounds to change completely from shot to shot.
Building a coherent feature or short film requires a structured, multi-step production pipeline.
1. Scripting & Visual Planning
Write a tight script: Use tools like ChatGPT or Claude to format a standard screenplay.
Generate a storyboard: Create consecutive image references for every single scene.
Build image-to-video assets: Always use an image as your video starting point, rather than just text, to maintain control over composition.
2. Consistency Framework (The "Crafted" Core)
Character seeds: Generate a master portrait of your character from multiple angles using image generators like Midjourney.
Consistent reference (Cref): Use character reference parameters to lock in facial features across different scenes.
Style sheets: Save specific prompt modifiers (e.g., "35mm anamorphic lens, moody cyberpunk lighting, muted color palette") to apply to every background image.
3. Video Generation & Movement
Animate the stills: Feed your consistent master images into video engines like Runway Gen-3, Luma Dream Machine, or Sora.
Keep camera motion subtle: Large camera movements cause AI video to warp and distort. Stick to pans, tilts, and slow zooms.
Upscale key shots: Use video enhancers like Topaz Labs Video AI to clean up low-resolution artifacts before editing.
4. Audio & Post-Production
Voice cloning: Use ElevenLabs to generate consistent, emotionally expressive character dialogue.
Sound design: Layer background ambiances, foley (footsteps, clothing rustle), and cinematic music tracks in an editor.
Traditional editing: Piece your clips together in DaVinci Resolve or Adobe Premiere. Use color grading to blend different AI generations into a unified visual look.
Step-by-Step Production Roadmap
Here is a complete project blueprint to guide you from concept to final render. You can download this checklist to track your progress:
Here is your file: ai_movie_production_roadmap.md.
Phase 1: Pre-Production: Scripting, character design, and style guiding.
Phase 2: Asset Generation: Generating consistent images and animating them into video clips.
Phase 3: Audio & Editing: Dialogue creation, sound layering, pacing, and color grading.
(Note: The blueprint has been successfully.
To create a historical epic with AI, you biggest challenge is historical accuracy and scale. AI video models easily mix up eras, clothing styles, and architecture. You must use precise visual terminology to force the AI to maintain a grounded, big-budget cinematic look.
Here is your production kit for a historical epic.
1. Visual Style & Cinematic Prompts
Lenses selection:
Use terms like "Panavision anamorphic lenses" or "70mm IMAX format" to get wide, sweeping epic framing.
Lighting style: Use "Chiaroscuro lighting", "natural golden hour sunlight", or "flickering torchlight" to mimic period films like Gladiator or The King.
Color grading: Specify color palettes such as "muted earth tones, deep crimson accents, and desaturated blues" to avoid a cheap, oversaturated digital look.
2. Crafting Massive Scale (Battles & Cities)
Crowd generation: Avoid asking for "thousands of soldiers marching." AI will warp the faces and bodies. Instead, prompt for a "low-angle wide shot of an army encampment, hundreds of tents, smoke rising, silhouettes".
Environmental plates: Establish your setting first. Prompt for "wide aerial drone shot of ancient Roman marble colosseum, pristine condition, 1st century AD, dusty atmosphere".
The "Fog of War" trick: Add "heavy atmospheric haze, dust particles floating, dense smoke" to your prompts. This hides AI background glitches and enhances the epic mood.
3. Maintaining Historical Accuracy
Specify materials: Do not just say "armor" or "dress." Say "weathered iron lorica segmentata armor with leather straps" or "coarse linen tunic with gold embroidery".
Architectural cues: Detail the textures. Use terms like "eroded limestone pillars", "rough-hewn wooden palisades", or "cracked cobblestone streets".
Avoid modern buzzwords: Never use words like "photorealistic" or "hyperrealistic." Use historical references instead: "historical oil painting texture, gritty realism, 35mm film grain".
4. Audio Architecture
Orchestral weight: Use AI music tools like Udio or Suno to generate a "slow, swelling orchestral brass theme with heavy taiko drums and driving cellos".
Soundscapes: Layer continuous background audio. You will need tracks of "distant clashing iron, horse whinnies, heavy wind gusts, and crackling campfires" to sell the environment.
Historical Epic Prompt Templates
Copy and paste these master formulas into your image generator (like Midjourney or Flux) before animating them:
text
[Character Close-Up]
Cinematic medium close-up of a battle-weary 14th-century knight, mud splattered on face, deeply detailed eyes reflecting campfire light, dented steel chainmail armor. Shot on 70mm lens, film grain, historical realism, dark moody atmosphere --ar 16:9
Use code with caution.
text
[The Wide Establishing Shot]
An Establishing wide shot of an ancient mountain fortress at sunrise, stone towers cutting through thick low-hanging fog, torchlight flickering on the ramparts. Epic scale, cinematic lighting, 8k resolution, historical drama aesthetic --ar 16:9
Use code with caution.
Kikelomo did not know that Edward was a bully until after their wedding.
Their marriage became living in bondage.
She had been lured and tricked into marriage by a psychopath. This was not the same prince charming she fell in love with four years ago. She was now like a bird in a cage.
"Fast and pray sister Kikelomo..There is nothing beyond the supreme power of our Almighty Baba God. Trust and see," said Pastor Jide Ajayi.
"But he is unrepentant," she said.
"Don't give up," he said as she stood up to leave.
She sighed and put on the large sunglasses covering her black eyes. She had shown him the bruises on her arms. He only shook his head and said he believed that one day her husband would regret all he done and become born again. She did not say Amen.
"Demons don't listen to sermons," said Ada whom she always confided in. She was her closest friend and a fearless realist.
PS:
From my original script for one of my new film projects, a crime thriller on domestic violence in marriage and tragic end.
Captain Okafor, a seaman and international whaler is contracted by a rogue Japanese whaling company to hunt for a killer whale that has been tracked to the Atlantic ocean.
An investigative environmental journalist who writes on endangered species, Adaure Kokoma who is spying on hunters of whales begins an open relationship with him and wants to follow him on the hunt for the killer whale, but he refuses, because he says, "it is too dangerous and it is a tough job for only brave men."
She sneaks and hides in his whaling boat overnight before he leaves with his crew of three trained whalers.
They discover her when they are far away from the harbour. He is furious and she apologies.
An unusual terrifying thunder storm carries their boat to the dreaded North Atlantic sea of The Bermuda Triangle and it is here they encounter what no one has ever seen before, the biblical sea monster, leviathan and an Island where they meet other people young and old with boats and ships declared missing and lost in The Bermuda Triangle. The survivors say nobody knows how to return to the Atlantic ocean and Captain Okafor says there must be a way back to their world.
"The leviathan hunts and feeds on whales, so it knows the way out to where it finds whales," says Captain Okafor.
The ocean roared with terrifying fury, tossing the sturdy wooden whaling ship like a leaf in the gale. Lightning tore through the pitch-black sky, casting blinding flashes across white-capped swells that crashed over the gunwales. Torrential rain beat down in relentless sheets, howling through the rigging and soaking the slick deck timber.
At the bow stood Captain Okafor, his heavy leather boots anchored firmly against the pitch of the deck. His knuckles were pale as he gripped the worn wooden shaft of a heavy iron harpoon, his face carved from dark granite, unyielding against the sea spray. Beside him, his shipmate braced against the wooden rail, muscles taut and eyes wide with fierce determination as he leveled his own weapon into the blinding squall. Neither man backed down from the tempest; their gazes were locked on the churning black ocean just ahead.
Behind them, cowering in the shadow of the wheelhouse, Adaure clutched her raincoat tightly around her trembling frame. Her long, dark braids streamed wet against her neck, dripping rain and sea-foam. Every crack of thunder rattled through her chest, and with each massive surge of the waves, her eyes widened in profound terror. She shrank back, watching the two men stand as a thin human wall between her and the abyssal horror rising from the deep.
Then, the dark ocean ruptured.
The leviathan broke through the surface—a colossal mountain of slick, obsidian hide and razor-sharp ridges, sending torrents of ocean cascading around the hull. Its ancient silhouette blotted out the horizon, rising high into the lightning-lit gale. The sound of its breath was like grinding tectonic plates, overwhelming the roar of the storm itself.
"Hold your ground!" Captain Okafor roared above the gale, his voice ringing out with iron command. He shifted his weight, pulling the harpoon back to his ear as the ship plunged down the crest of a massive wave. The beast lunged closer through the foam, and as the lightning flashed once more, Okafor took aim at the heart of the titan, ready to drive metal into the legendary creature.
Adaure Kokoma, an investigative journalist on climate change and endangered species is reporting on illegal whaling, natural and unnatural phenomenons in the North Atlantic sea such as popular facts and myths on The Bermuda Triangle.
The Bermuda Triangle is a loosely defined region in the North Atlantic Ocean—roughly bounded by Miami, Bermuda, and Puerto Rico—where numerous ships and planes have allegedly vanished under mysterious circumstances.
Location and Boundaries The Corners: Formed roughly by Miami (Florida), Bermuda, and the Greater Antilles (including Puerto Rico). No Official Status: The area is not recognized as an official geographic or administrative zone by the National Oceanic and Atmospheric Administration or the U.S. Navy. Size: Estimates of its total area range between 500,000 and 1.5 million square miles.
History of the Legend Coining the Term: Author Vincent Gaddis first used the phrase "Bermuda Triangle" in a 1964 Argosy magazine article detailing the loss of Flight 19. Fame: The legend exploded in popularity following Charles Berlitz's 1974 best-selling book on the subject.
Famous Incidents: Frequently cited losses include the 1918 disappearance of the naval vessel USS Cyclops and the 1945 loss of Flight 19 (five U.S. Navy torpedo bombers).
Scientific Reality and Statistics Statistically Normal: Coast Guard data and independent studies show that the rate of accidents or disappearances in the Bermuda Triangle is proportional to the heavy volume of air and maritime traffic passing through it, making it no more dangerous than any other comparable ocean region.
Logical Explanations: Disappearances are attributed to severe weather (hurricanes, rogue waves, sudden squalls), navigational errors, and human mistakes rather than paranormal or extraterrestrial forces.
Most of the ships and aircraft lost in the Bermuda Triangle have not been found, though oceanographers and wreck hunters have successfully located a few notable exceptions.
Because the region covers up to 1.5 million square miles of highly trafficked ocean, any vessels that sank or crashed there face a combination of extreme natural barriers that make recovery nearly impossible.
Why Most Have Not Been Found Extreme Ocean Depths: The Atlantic floor in this area is exceptionally deep. It contains the Puerto Rico Trench, which plunges to the deepest point in the entire Atlantic Ocean (the Milwaukee Depth, at nearly 28,000 feet down). At these depths, wreckage is buried in pitch-black, high-pressure environments.
The Gulf Stream Current: The Gulf Stream acts like a massive, swift underwater river. If a plane crashes or a ship sinks, this powerful current quickly carries debris miles away from the initial accident site before it even hits the ocean floor.
Shifting Seafloor Topography: The underwater landscape is highly dynamic, with massive underwater structures, trenches, and shifting sediments that easily swallow up and bury physical debris over decades.
Famous "Lost" Ships and Planes (Still Missing) Flight 19 (1945): The five U.S. Navy TBM Avenger bombers that vanished during a training routine remain entirely undiscovered. (Note: Social media posts and AI-generated hoaxes frequently claim they were found with skeletons intact, but these are fabrications).
USS Cyclops (1918): This massive U.S. Navy collier ship went missing with 306 crew members and over 11,000 tons of manganese ore. No trace or debris field has ever been located.
Marine Sulphur Queen (1963): A large tanker carrying molten sulphur vanished without a trace; only a few life jackets and a single life ring ever washed ashore. Notable Successes (Wreckages That Have Been Found) When wrecks in this region are actually found, they universally reveal logical, tragic reasons for sinking rather than paranormal activity:
SS Cotopaxi (Found in 2020): This steamship vanished in 1925 on its way to Cuba. After 95 years, marine archaeologists identified its wreckage off the coast of St. Augustine, Florida. Records proved the ship sank due to a severe tropical storm compounded by faulty, unmaintained cargo hatch covers.
SS El Faro (Found in 2015): A modern U.S. cargo ship that sank within the boundaries of the Triangle during Hurricane Joaquin. Debris was located using advanced sonar equipment 15,000 feet below the surface, confirming it was overcome by violent weather.
In that day, the LORD will punish with His sword— His fierce, great and powerful sword— Leviathan the gliding serpent, Leviathan the coiling serpent; He will slay the monster of the sea.
HALLELUJAH!
All the glory and thanksgivings to Almighty God JEHOVAH JIREH!
I have successfully completed the production of "Ngozika and Magic Water Pot".
My next film project with AI is
The Fall of The Leviathan
From the screenplay:
Lightning striking the leviathan as it spits fire during a thunder storm.
Scene Beats & Dialogue: The View from the Vessel
Setting: The main deck of a wooden vessel tossing violently amidst 30-foot swells.
Beat 1: The Breach
Captain Okafor: (Gripping the wheel, shouting over thunder) "Hold the line! Brace the rigging!"
First Mate: "The sea is boiling under the bow! She’s rising!"
(Water erupts around the hull as the Leviathan crests the waves).
Beat 2: The Infernal Flame
(A blinding orange glow illuminates the deck through heavy rain).
Deckhand: "Look at the water—it's burning!"
Captain Okafor: "Shield your eyes! Hard to port!"
Beat 3: The Lightning Strike & Fall
(A bolt of lightning strikes the creature's crest mid-roar with a deafening crack. High-voltage arcs flood the frame).
First Mate: "It hit the beast! It's going down!"
(Silence falls except for heavy rain as the massive creature sinks into the churning sea).
The Academy of Motion Picture Arts and Sciences (AMPAS) is dedicated to the advancement of the arts and sciences of motion pictures should celebrate and not fret about advancement of filmmaking with AI. Because whatever art or science that is necessary for the general enlightenment and entertainment of the society is for the advancement of human civilization.
AMPAS should be the leading advocate and champion of the technological advancement of the film industry.
Peter Gregory Obi: Portrait of Visionary Leadership
The Coming of a New Leader for the nation building of a New Nigeria
Peter Gregory Obi,
The Nigerian Dream for Visionary Leadership
It takes a visionary mind to appreciate, celebrate and promote a visionary leader for the nation building of a New Nigeria in the leadership of Africa among the comity of nations in the world.
- By Ekenyerengozi Michael Chima, Author of "The Victory of Muhammadu Buhari and the Nigerian Dream" and other books distributed by Amazon, Barnes and Noble and other booksellers.
Pictures from my storyboard for Virgil’s The Aeneid as an AI-generated historical epic that will be visually spectacular, deeply cinematic in 70mm format; blending myth and history.
Trojan hero Aeneas with Queen Dido of Carthage.
King Iarbas, the powerful North African king and fierce warrior ruling over local territories; the son of Jupiter Ammon, a fusion of the Roman king of gods and a North African deity as the suitor of Queen Dido.
Queen Dido setting herself ablaze and cursing Aeneas for refusing to marry her.
This is pivotal moment in the epic, representing a final plea for vengeance against Aeneas.
"Nullus amor populis nec foedera sunto. / Exoriare aliquis nostris ex ossibus ultor...".
No love between our peoples, no pact between us... Rise up from my bones, avenger!
Aeneas in the underworld.
- By EKEYERENGOZI Michael Chima,
Wednesday, August 26, 2026.
Uyo, Akwa Ibom State, Nigeria.
Ọba Kò So returns from the Lake of Fire to present day Oyo to fight against bandits and terrorists who have attacked the people and kidnapped the Alafin with his first wife and others. Can Sango rescue them? The kidnappers are not ordinary people. They are from the Nupe tribe. An epic battle awaits Ṣà ngó in the ancestral kingdom of his mother. Against whom? Of course, Ṣà ngó cannot return with Oya from Odo Oya (River Niger). As we say in the Yorùbá language, "Ija yen a ga!"
History of Sango adapted from the records of Yoruba historians and IFA priests.
By the way, my father was the only non-Yoruba Ifa priest since he grew up among the Ijebus from the age of 9 and was also a hunter and a soldier of the Royal West African Frontier Force who fought in Burma during the World War 2 (1939-1945).
Who was Sango?
Sango, the 4th Alafin of the Oyo Kingdom
Sango is an historical Yoruba king who through the story of Oba Koso ("The King does not hang") has joined the ancestors, and in the new world has become one of the seven principal Orishas. In the Afro-Cuban Santeria, Sango is recognized as the god of lightning, thunder, drums, dancing, and yams. Because he shares lightning and fire with Oya, the godess of the whirlwind (and winds in general and "the gates of the cemetery"), Oya traditionally is said to be Sango's favorite wife, both warriors who, in the New World at least, ride to war together.
In Cuba and in Brazil, however, it is sometimes thought that Oya is also the wife of Ogun (the machete wielding blacksmith Vulcan), which offends traditional "monarchist" Yoruba insofar as among her other attributes Oya is also the principle of steadfast devotion and loyalty. There is a passage in Orisun Omi in which the young narrator states flatly that "Oya is the wife of Ogun," which does not play well in Ile Ife. On the other hand, Sango is said to have an eye for Osun (Aphrodite, Venus), so perhaps, devotion or not, the New World Voodoo is simply acknowledging that what's good for the goose is good for the gander.
Oba Koso
Oba Koso is one of Duro Ladipo’s most important plays, also the best-known work in the repertory of Yoruba operatic tradition. It was with this play that Ladipo marked the first anniversary of the Oshogbo Mbari Mbayo Club. The play, published in Three plays by Duro Ladipo in 1964, was translated by Ulli Beier.
Oba Koso, meaning “the king did not hang” is an eight-scene dramatization of the death of the Oyo king deified as the Yoruba god of thunder. In the play, Sango’s ultimate inability to control his two belligerent generals, Timi and Gbonka was brought to the fore. Employing divide-and-rule tactics, he had set the two against one another in the hope that they will be so weakened by war that neither of them will be able to pose a threat to his power. In the ensuing battle, Gbonka, one of the warriors, defeats Timi repeatedly, to Sango’s disappointment. Thereafter, Gbonka recognizes Sango’s duplicity and invades Oyo. Deserted by his supporters, Sango suffers defeat, withdraws from the capital, and hangs himself in humiliation. His followers band together and deify him: the king did not hang (oba koso), they claim, he simply metamorphosed into a god.
The Supernatural Story of Sango, Ọba Kò So as shared by Bola Olalekan.
Adapted by historians, backed by Odu-Ifa and as told in folklores in the Yoruba religion sphere. Oranmiyan was the father of Sango, Oranmiyan the founder of Oyo kingdom and the youngest grandson of Oduduwa the progenitor married a Nupe woman who bore him Sango.
All stories about Sango are dramatic, it was said that he went in search of his father Ajagun and at a point, had to throw himself inside a burning lake to prove his lineage as Ajagun was the king of fire (this is in line with the debunked story).
Anyway,when Ajaka was Alaafin , Oyo kingdom was under incessant treat of war from Owu, Olowu was Ajaka’s cousin; who ruled Owu Kingdom. Olowu sent his warriors to capture Alaafin Ajaka and to bring him to Owu dead or alive. In their effort to rescue Alaafin Ajaka, the Oyomesi sent for Sango in the land of Nupe where Sango was living, Sango's fame was flourishing at Nupe, he was powerful, fearless and could spurt fire from his mouth. Sango was highly short tempered, he would spurt fire when angry.
Ajaka was sent on exile emanating from a vote of no confidence from the Oyomesi, Sango was made king after he rescued Oyo. He thus became the third Alaafin and ruled fearlessly.
Sango had three wives. Oya, who he loved dearly and became fond of, Sango would allow her to touch his hair which was an abomination but Oya later betrayed him by revealing his secrets of wizardry. Osun, the river goddess who was his favourite because of her cooking skills and Oba, who tried to win Sango's love by making a meal out of her ear for Sango. Sango later sent her packing resulting from a dispute between her and Osun, Oba left and out of frustration, turned into a river now called River Oba, which becomes turbulent whenever it meets with river Osun.
Sango was known to plait his hair into a style known as Suku, he designed it with red apparel and cowries (Laba and Yewu), he was known to hold double bladed axe (Ose Sango). Ram was is usual animal and still being uphold as symbolic pet of Sango by his followers, his favourite colour was red. He possessed a special sort of drum called 'Bata' and enjoyed eating bitter kolanut, porridge and yam. His followers of the glorious Yoruba Ifa religion still possess these features. They dress like Sango and could breathe fire, and are extremely pyromania.
The Latter Days Of Sango
King Sango had two warlords whose names were Gbonka and Timi, they were equally as lethal as Sango, Sango knew this and secretly planned to get rid of them.
He set the both of them up in a deadly contest with each other which later boomerang, Timi got killed and Gbonka who all of a sudden realised Sango’s hidden tactics, countered Sango and over powered him.
He banished Sango into the outskirts of Oyo. Sango was forced to desert Oyo and was said to have hanged himself at a place later called Koso. This, his disciple refuted, they claimed he only ascended to heaven to take charge of thunder and lightning. The popular saying “Obakoso or Olukoso” means King Sango did not hang.
Locations of target audience:
Nigeria, Benin,Cuba, Brazil, Haiti, Dominican Republic, Colombia, Vennezuela and Ecuador.
Population:
Over 600 million.
The Diaspora:
United States
46,936,733 (2020)
Brazil
14,517,961 (2010)
Haiti
9,925,365
France
3.3–5.5 million
Other countries with significant African, Mulatto, or Zambo populations in Dominican Republic (8.5 million), Cuba (7 million), Colombia (5 million), Venezuela (4 million) and Ecuador (1.1 million).
Special reference:
In episode 28 of the telenovela Celia, loosely based on the life of Celia Cruz (produced by Telemundo), the cultural ancestors of Celia's African heritage visit her in her dreams, chanting and invoking the presence of Chango
Important notes on Oya and Sango:
When it’s time to ravage their enemies, Oya, who had the power to summon wind, would lead the charge. With her power, she would blow off roofs, fall trees and breathe life into the fire set by Sango’s thunder. Generally, Oya was more than a wife to Sango. They were like Bob and Helen Parr of The Incredibles.
