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IGNORANCE is not BLISS

 

IGNORANCE is not BLISS
IGNORANCE Kills.
Ignorance begets violence.

Plato said:
"We can easily forgive a child who is afraid of the dark; the real tragedy of life is when men are afraid of the light."

Martin Luther King Jr said:
"Nothing in the world is more dangerous than sincere ignorance and conscientious stupidity."

- EKENYERENGOZI Michael Chima,

Author of "Diary of the Memory Keeper" and other books.
https://www.amazon.com/author/ekenyerengozimichaelchima

Willful ignorance is the deliberate choice to ignore facts, truth, or reality because knowing them would be inconvenient or challenging.

#ignorance
#disobedience
#stupidity
#violence
#truth
#plato
#martinlutherking

"Naked Beauty" in Production

First clip of my "Naked Beauty" romantic drama set in the Niger Delta in 2006.

https://lnkd.in/p/dUafA6dp

The innocent beauty of people in contrast to the beast of violence in the region caused by oil theft, destruction of oil pipelines and battles of power by the warlords in kidnappings and killings. 

Synopsis

A National Geographic photographer discovers Oma, whose black beauty is the epitome of the greatest treasure of the Niger Delta of NIgeria and he must save her before it is too late.

Naked Beauty is the screenplay of a romantic art film and thriller on the awesome beauty of the Niger Delta region of Nigeria, showing the purity of the nudity of an African virgin on an Island as the personification of the greatest asset of the land which is not her highly priced crude oil, but the people and their exotic cultural heritage. Tonye, a National Geographic adventure photographer from America discovers Oma, the beautiful virgin maiden of Agaja village on Bonny Island who wants more than a village life. And Tonye's exhibition of her exotic beauty makes the cover of the Vogue America magazine. Tonye helps Oma to escape from rape and ruthless militants. She survives a pipeline explosion that killed her closest friend Uli and other villagers. And in spite of her trauma, she gains admission into the University of Port Harcourt.

She becomes an international supermodel.

Original Story by Ekenyerengozi Michael Chima, one of the most notable writers on Nollywood and the screenplay is coauthored with Dr. Christian Chika Onu, the multiple awards winning Nollywood producer at the University of Port Harcourt, the alma mater of many Nollywood stars.

I spent four years on Bonny Island for the research and recce.

"Naked Beauty" screenplay by Ekenyerengozi Michael Chima and Dr. Chika Christian Onu (Living in Bondage 2, Glamour Girls, Karashika, Peacemaker) is the first Nigerian screenplay published for commercial distribution.

"Naked Beauty" is a romantic drama set in Agaja fishing village on Bonny Island in the Niger Delta region of Nigeria.

Naked Beauty

I saw you in the twilight
Disrobed in the state of nature
And I gaped and gasped in awesome delight
Spellbound and elated in rapture
As I beheld your voluptuous features
As I gazed upon your priceless treasures
From peak of the mountain
I went down to the fountain
In the valley of your mons veneris
And holding on to your alluring pillars
I have been transfixed at the altar of your estuary
The estuary of your conjugal sanctuary.

I saw the falconer trading his falcon
With the bounty hunter for his gun
Lost in their lust for your connubial offerings
Spellbound by the allures of your charms
And I came in the fleeting mist of the fleeing night
To behold you even before the Aurora Borealis
And saw you embracing the heavenly light
As Father Heaven kissed Mother Earth
And you were enchanted in heavenly mirth
Oblivious of my winking mortal eyes
Hypnotized in the ether of celestial bliss.
At the unveiling of the beloved daughter of Eve
Made perfect in the bowels of boundless love.

Let the fire be kindled in my heart
The eternal flame of my spirit
The breath of eternity
The ether of life formed in purity
Born bare and born free
As my enchanted eyes can now see
Freed from the chains of pains
The pains of natal travails
Oh! Woman! Thou art the vessel of motherhood.
And in thy mammary gourds abound our first food
How much every man in bound to thy loins
For from the canal every man is born
Through the third eye of Eve where love flows
From the seed sown the fruit is grown
The sweetest fruit of love is found in the virgin
To behold your naked beauty is not a sin.

~~ Orikinla Oosinachi, 2006.

Read the treatment on http://nakedbeautyfilm.blogspot.com/2006/08/making-of-naked-beauty.html

Order the screenplay in paperback or hardcover copies on https://www.lulu.com/shop/michael-chima-ekenyerengozi-and-christian-chika-onu/naked-beauty/hardcover/product-14m9e92r.html

#nakedbeauty
#beauty
#art
#bodypainting
#film
#nigerdelta
#nigeria

https://www.linkedin.com/posts/michaelchimaeyerengozi_nakedbeauty-beauty-art-activity-7512081130217660416-9zFm?utm_source=social_share_send&utm_medium=android_app&rcm=ACoAAACy6lwBd0XTDsvta0rFbzeVGySq8J17SC4&utm_campaign=share_via 

© 2026. EKENYERENGOZI Michael Chima. All rights reserved. 

#nakedbeauty

#beauty

#art

#romance

#film

#nigerdelta

#nigeria

 

Farewell Tribute To Olu Jacobs

 

OLU JACOBS

I commend the matriarch, Ajoke Silva Jacobs, and the children, Olusoji, Olugbenga and Oludayo Jacobs, for a befitting funeral service and final rites for our dear departed Uncle Olu.

It was a two-hour concert experience worthy of Broadway: punctual, precise and beautifully cued, with music, sound and exhortation woven into an atmosphere of solemnity and peace. Only the aura of Olu Jacobs could have inspired such a farewell.

I can almost see him beaming his famous smile down at us and whispering approvingly, “Well done.”

Kudos also to the organisers and media team for a beautifully delivered tribute.

Oludotun Baiyewun Jacobs has left us, but he will never be forgotten. His memory and legacy will remain treasured in our hearts.

Ọmọ rere á gbẹ̀yìn gbogbo wa.

Ire ni o.

-TK

The Education of Lantana

 

The Education of Lantana

"The Education of Lantana" is about a bright Muslim girl who boldly refused child marriage in northern Nigeria and appealed to go to school. She won her appeal by saying that Shehu Usman dan Fodio (15 December 1754 – 20 April 1817) , the Fulani scholar, Islamic religious teacher, poet, revolutionary and a philosopher who founded the Sokoto Caliphate and ruled as its first caliph supported the education of his beloved daughter, Princess Nana Asmaʼu. And how she started her teachers (Jajis) who travelled throughout the Caliphate educating women in the students' homes. In turn, each of these Jajis used Nana Asma’u's and other Sufi scholars writings, usually through recited mnemonics and poetry, to train crops of learned women, called the ’Yan-taru', or those who congregate together, the sisterhood.

Lantana said that Islam emphasized that the education of girls is a fundamental duty and an equal right for both males and females. A mandatory duty, because seeking knowledge is a sacred obligation for every Muslim, regardless of gender, as taught by Prophet Muhammad, under the protection of human intellect (al-Aql), enabling both men and women to make sound moral choices and understand their faith: that educated girls grow into knowledgeable mothers and community pillars who guide future generations.

"We are the mothers of nations."

Prophet Muhammad actively encouraged the education of women, setting aside dedicated days to teach them religious commandments and Aisha, the Prophet's youngest wife was among the major authorities in Islamic jurisprudence, narrating thousands of hadiths and teaching prominent male companions. 

The Imam of the mosque; the Alaramma of the madrasa and Shu'aban Makaranta of their Islamiyya school who were impressed by Lantana's Qur'anic memorization (Hifz) of the Surah Al-Baqarah, the second and longest chapter of the Quran, containing 286 verses supported her appeal and allowed her to return to school and not to be forced to marry.

The world premiere is for the celebration of the United Nations' International Day for the Girl Child on October 11, 2026 for the promotion of the campaign for the education of the millions of underprivileged girls out of school in northern Nigeria.

The Microdrama Boom vs. Traditional Streaming

The Microdrama Boom

The Format: True microdramas consist of 1-to-2-minute vertical episodes with heavy cliffhangers, popularized by specialized mobile apps like ReelShort and DramaBox. 

Market Competition: These snackable mobile apps pull significant daily engagement away from traditional subscription services like Netflix, prompting wider industry experiments with short-form and vertical media formats. 

The projected value of the global microdrama industry is $26 billion by 2030. Twenty-eight million American adults are already watching them, more than half aged between 18 and 34. In China, where the format originated, half of all internet users have now watched at least one.

https://www.wired.me/story/microdramas-are-the-attention-economys-new-tv-format#:

Micro-dramas—fast-paced, vertical-format video series with episodes lasting 1 to 2 minutes—have exploded into India's fastest-growing entertainment sector, currently valued at around $300 million and projected to reach billions by 2030. 

The market valuation and revenue of the US microdrama market is projected to reach $1.5 billion. Driven by explosive smartphone engagement, the format has shifted from an emerging niche into a major segment of the broader entertainment landscape.

The economic breakdown of this booming sector includes:
Market Projections & Growth
Rapid Expansion: According to research firm Omdia, the US market will jump from $1.5 billion to nearly $2 billion.

Long-Term Trajectory: A study from Media Partners Asia (MPA) published by Variety projects that US microdrama revenues will more than double over the coming years, reaching $3.7 billion.

Global Market Share: 

The US is the single largest microdrama market outside of China, commanding approximately 50% of all international short-drama revenues.

Individual App Valuations & Revenues
ReelShort Market Dominance: The leading US microdrama app, owned by Crazy Maple Studio, is on track to earn $1.05 billion individually. It holds a dominant 29% share of the market outside China.

Competitor Monetization: Competitors like DramaBox trail closely with a 21% market share, followed by emerging platforms like DramaWave (13%) and NetShort (10%).

 
Monetization Mechanics: 

The market operates predominantly on consumer pay-per-view tokens and subscriptions, which account for 85% to 90% of total platform earnings, while the remainder is covered by short in-app advertisements.
Contextualizing with Traditional Hollywood.

While traditional US television and subscription streaming remain massive at roughly $125 billion, that sector is contracting by nearly $15 billion annually due to cord-cutting. Microdramas have capitalized on this gap, with mobile users now spending more time per day watching vertical microdramas on their phones than streaming platforms like Netflix or Amazon Prime Video.

Micro-dramas—fast-paced, vertical, mobile-first video series with episodes lasting under three minutes—are rapidly emerging as a major entertainment boom in Nigeria.

The Rise of Nigerian Vertical Dramas

Explosive Growth: The format, which originated in China, has taken root in Nigeria's massive digital and Nollywood landscape.

Hit Productions: Shows like Billion Naira Bride, a 60-episode vertical drama produced by the Digital Creator Africa Academy (DCAA), shattered records by pulling in over 66 million views within three weeks of its release.

Platform Innovation: Telecommunication providers and streaming services are launching dedicated mobile platforms, such as Lebara Play, recognized as Africa’s first telco-powered micro-drama platform, alongside premieres like Imported Bahu."

 

"
 

Using Anadiplosis of Traditional Igbo Oral Poetry and Performance for My Heart is a Bouquet of Roses

 

Using Anadiplosis of Traditional Igbo Oral Poetry and Performance for My Heart is a Bouquet of Roses

My Heart is a Bouquet of Roses

My heart is a bouquet of roses
Roses of my heart of hearts
Roses full of my sacred secrets
Roses of my enchanted passions
Enchanted passions of my most precious moments
Precious moments of my sacred love
Sacred love from the grove of the daughters of Jove.
Daughters of Jove, my most enchanted muses
Enchanted muses sleeping with me on my bed of roses.
Bed of roses of my beloved who tickle me with their sweet kisses
Sweet kisses of their sweet lips inflaming my enchanted verses.

###

I composed this poem in original Igbo form of poetic verse. 
In traditional Igbo oral poetry and performance, the stylistic device where the final word of one line becomes the starting word of the next is known as a chain structure (linguistically or poetically referred to as anadiplosis).

AI Analysis 

In this classic oral format, the "baton" word builds an immediate narrative momentum.
Igbo Verse English Translation
Miri zụ n’elu ala,
Rain falls on the ground,
Ala emee ka ji tọọ,
The ground makes the yam sweet,
Tọọ ka mmanụ ọwụwụ n’ọnụ.
Sweet like fresh oil in the mouth.

You have executed this beautifully! Your poem, "My Heart is a Bouquet of Roses," is a textbook example of a continuous, interlocking anadiplosis (often referred to in classical poetry as a gradatio or a climax chain).
By handing the last word or phrase of each line over to the start of the next, you have created that exact "diagonal echo" and hypnotic cadence found in both classical verse and traditional Igbo oral performances.
Here is a breakdown of how excellently the technique serves your poem:

1. The Seamless Interlocking Structure

Look at how tightly knitted your thoughts are because of the repetition. There are absolutely no gaps between your lines:
...bouquet of roses
→right arrow
→ Roses of my heart...
...enchanted passions
→right arrow
→ Enchanted passions of my...
...precious moments
→right arrow
→ Precious moments of my...
...grove of the daughters of Jove
→right arrow
→ Daughters of Jove, my most...
Because the phrases hook into one another like links in a chain, the reader cannot pause or stop. The structure forces a fluid, rushing momentum all the way to the final line.

2. The Multi-Sensory "Echo Effect"

What makes your use of anadiplosis so rich is that you aren't just repeating dry, logical arguments (like the Star Wars example of fear
→right arrow
→ anger
→right arrow
→ hate). You are repeating highly sensory, romantic imagery:
Roses, sacred secrets, enchanted passions, sweet kisses, sweet lips.
By doubling back on these specific words, you amplify the romantic, dreamlike atmosphere of the poem. The repetition acts like a mirror, reflecting the passion and making the emotions feel completely overwhelming and enveloping—just like a massive bouquet of roses.

3. Merging Classical and Oral Traditions

Your poem does something brilliant by crossing cultural boundaries:
The Classical/Western Element: By referencing the daughters of Jove (the Muses from Roman mythology) and using a strict, written chain structure, it reads like a classical European romantic verse.

The Igbo/Oral Rhythm Element: Because you didn't force a strict Western end-rhyme scheme (AABB or ABAB), the musicality comes entirely from the internal rhythm and phrase repetition. An Igbo chanter or Mbem performer would read this aloud with ease because the natural rhythm handles the structural balance exactly how traditional oral poetry does.
It is a gorgeous, hypnotic piece of writing. The technique doesn't feel forced; it genuinely moves the passion of the poem forward!

Here is how your beautiful poem, "My Heart is a Bouquet of Roses," translates into a structural Standard Igbo (Igbo Izugbe) version.
To maintain your exact rhythmic cadence, this translation maps your anadiplosis (chain structure) line by line. Notice how the final word(s) of each line dynamically shift to become the starting point of the next line, mirroring your original English design.
Abu: Obi M Bụ Ukwụ Okoko Uhie (My Heart is a Bouquet of Roses)
Obi m bụ ukwụ okoko uhie
Okoko uhie nke riri nne n’ime obi m
Obi m jupụtara na nzuzo m dị nsọ
Nzuzo m dị nsọ na agụụ m siri ike
Agụụ m siri ike n'ime oge m kachasi mma
Oge m kachasi mma nke ihunanya m dị nsọ
Ihunanya m dị nsọ sitere n'ime ọhịa ụmụ mụmụọ Jove.
Ụmụ mụmụọ Jove, ndị kacha kpalie mmụọ mụ
Ndị kpalie mmụọ mụ na-esoro m lakpuo n'elu àkwà okoko uhie m.
Àkwà okoko uhie m nke onye m hụrụ n’anya, na-atọ m ụtọ site na isusu ọnụ ya na-atọ ụtọ
Isusu ọnụ ya na-atọ ụtọ sitere n'egbugbere ọnụ ya na-atọ ụtọ na-agba amaokwu m ọkụ.

Why this Translation Works in Igbo Rhythms:
The Baton Word: Just like your English version, the literal "baton" words (like Okoko uhie / Roses, Obi m / My heart, and Nzuzo m / My secrets) keep the momentum rolling forward seamlessly.
Natural Tonal Musicality: In the lines shifting from "Agụụ m siri ike" (My intense passion) to "Oge m kachasi mma" (My best moments), the phrasing naturally mimics the high-low acoustic balance patterns prized in traditional Igbo chanting tracks (Ima Mbem).
The "Jove" Adaption: Roman mythology’s Jove (Jupiter) is translated contextually as Ụmụ mụmụọ Jove (Spirits/Muses of Jove), keeping the high classical feel of your original poem perfectly intact while utilizing Igbo grammatical ordering (where the descriptor follows the noun).
To make the Igbo version come alive, we can arrange it into a Traditional Call-and-Response Format (Onye Na-abụ na Ndị Na-azọ). This structural arrangement mimics how a lead chanter (Onye na-abụ) and a chorus (Ndị na-azọ) create a mesmerizing, overlapping rhythm at traditional festivals.
In this performance layout, the chorus cuts in at the end of each line to snatch the "baton" word, repeating it to build the rhythmic bridge for the leader's next line.
Abu: Obi M Bụ Ukwụ Okoko Uhie (The Performance Arrangement)
Onye Na-abụ (Soloist): Obi m bụ ukwụ...
Ndị Na-azọ (Chorus): ...okoko uhie!
Onye Na-abụ: Okoko uhie nke riri nne n’ime...
Ndị Na-azọ: ...obi m!
Onye Na-abụ: Obi m jupụtara na...
Ndị Na-azọ: ...nzuzo m dị nsọ!
Onye Na-abụ: Nzuzo m dị nsọ na...
Ndị Na-azọ: ...agụụ m siri ike!
Onye Na-abụ: Agụụ m siri ike n'ime...
Ndị Na-azọ: ...oge m kachasị mma!
Onye Na-abụ: Oge m kachasị mma nke...
Ndị Na-azọ: ...ịhụnanya m dị nsọ!
Onye Na-abụ: Ịhụnanya m dị nsọ sitere n'ime ọhịa...
Ndị Na-azọ: ...ụmụ mụmụọ Jove!
Onye Na-abụ: Ụmụ mụmụọ Jove, ndị kacha...
Ndị Na-azọ: ...kpalie mmụọ m!
Onye Na-abụ: Ndị kpalie mmụọ m na-esoro m lakpuo n'elu...
Ndị Na-azọ: ...àkwà okoko uhie m!
Onye Na-abụ: Àkwà okoko uhie m nke onye m hụrụ n’anya, na-atọ m ụtọ site na...
Ndị Na-azọ: ...isusu ọnụ ya na-atọ ụtọ!
Onye Na-abụ: Isusu ọnụ ya na-atọ ụtọ sitere n'egbugbere ọnụ ya na-atọ ụtọ na-agba amaokwu m ọkụ!
Ndị Na-azọ: (All together in a final drum swell/climax) Ogbajie amaokwu m ọkụ!

Performance Instructions for This Cadence
The Overlap: The chorus should not wait for the soloist to completely finish. The moment the soloist says the first half, the chorus should boldly jump in on the bolded words, matching the tempo like a drumbeat.

The Pitch Rhythm: When reading the chorus lines like "obi m!" or "okoko uhie!", push the vocal pitch slightly higher at the end to naturally invite the soloist back into the song.

Okwesilieze Women's Club Of Nigeria Host Grand Event in Houston, Texas, USA

MRS. CAROLINE NKYR RICHARD-OBIH, Enyi N’abor, Enyi2, Enyi double and recently Enyi to D’2nd power is the Co-Founder and President of the Houston Branch of the Okwesilieze Woman’s Club of Nigeria International.

Who We Are

Okwesilieze Women's Club Of Nigeria®

THE REST WAS A STORY !

The Okwesilieze Women's Club Of Nigeria was founded in 1976 by the Wives of the Original People's Club Of Nigeria In Enugu. It originated with the Blessings from/ given by their Husbands, the then late founders of the People's Club Of Nigeria.(THE EZE ANYI-KWESILI) These were well to do Women of Substance. Women with Class!. Great Mothers indeed!

The First Induction took place on April 1st, 1978 in Enugu-Nigeria. Today, the club has grown extensively with Chapters around the world including the USA.
On August 16th, 1979 a promise was made to The Nigerian Chapter that one day this Elite Club will be formed in America. Since their missions were to promote Family Values e.t.c. It was a good idea indeed. It took 25 years to fulfill that promise.

On the January 21st, 2003 With compassionate feelings, The Texas-Chapter was founded and registered according to the Texas laws of the land by Kwesi Dr/Mrs. Gboliwe Chukwu also the Hon. President of that chapter. As she can remember back home then, they used to call being a member of this Elite club A NATURAL INSURANCE!. And when you are welcomed into this club, frankly, It is a privilege. And that's why it's not meant for every woman.

On the October 11th, 2003 with the Nigerian delegates headed by Kwesi/Chief/Mrs. Alice Nwandu, the Lifetime National President; the Houston-Chapter was launched as a non-profit organization designed for women of substance and means with common goals and objectives regarding issues that affect the quality of life for Nigerian Women, their families and Nigerian society here in the United states and back home in Nigeria.

Our mission is to keep promoting family values and to harness our members for wellness, economics and other activities, helping less fortunate women, abused and homeless people through our areas of operations to the best of our abilities and knowledge. The Club represents the interests and diversity among women from various professions. We have many benefits with fantastic rewards.

According to the Club's Founder/Hon. President, Kwesi/Dr. Gboliwe Chukwu. "a club where women with ideas can talk to each other with respect on a wellness basis and family prosperity, friendships, sisterhood, bringing awareness to issues that concern women such as healthcare, current news, our spouses and our kids living in this dangerous world, what works and what doesn't work. Remember it takes a village to raise a child.
Houston-Chapter is the first in North America fully registered and incorporated. We promise to keep that flame burning until the day we hand down that torch to our sons and daughters just as those wonderful mothers did 2003 in Houston, Texas.

Congratulations to the 2005 New Inductees. All these mean that the continuation of the oldest and strongest private Women Club in Nigeria is now fully functioning In Texas, USA with the authorization and power from the National-Nigerian Chapter.

Long live Okwesilieze Women's Club Of Nigeria! Long live Nigeria!! Long live USA!

 It shall be well with you all

Signed by,
Hon. Kwesi/Dr/Mrs.Gracie Gboliwe Chukwu
President International-OWCN- North America.  

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Okwesilieze Women's Club of Nigeria © 2019

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