Ngozika and The Magic Water Pot

 

Ngozika and The Magic Water Pot

(in memorial tribute to my beloved mother, Gladys Onuamaighiuwa Eke, Nee Ugwubujo of Umuuda Nsigwu, Umuahia North, Abia State, Nigeria. Her mother was a potter)

When Ngozika lost her water pot at the stream, she was afraid to return home, because her mother would scold her.

She was weeping until sunset and was alone.

Mammy Water, the mermaid emerged from the stream after turbulence.

"Don't cry Ngozi!ka."

Ngozika was trembling at the shocking signt of the mermaid.

"Stop weeping. I have brought you another water pot. A water pot that will never lack water even in the dry season," said Mammy Water.

"Take the magic Udu Nmiri Ataata."

Ngozika collected the water pot and stopped weeping 

She thanked Mammy Water and returned home carrying the magic water pot on her head.

Ngozika and The Magic Water Pot

Chapter 1

Ngozika was the only child of her mother, Nneoma, a poor widow living in a small mud hut with thatched roof of palm fronds in the Umu Udara village. 

She was having malaria and lying on a raffia mat inside the bedroom and very troubled that her beloved daughter had not returned from the stream since noon. If she had not been very ill and unable to walk, she would have gone to the stream flowing into the Oti river to look for her. And none of the neighbours had come to see how she was doing since majority of them joined her accusers pointing accusing fingers at her as they falsely accused her for causing the untimely death of her hardworking husband Ndudirim, a farmer and palm wine tapper. He had fallen from the top of the palm tree whilst tapping palm wine and his back was broken as he fell down to the hard ground.

He was carried back home injured and in pains. The Dibia, the village native doctor rushed to treat his wounds, but he became bedridden and never recovered. 

The Anya Unmuo, eyes of the spirit witch doctor of Umu Udara village consulted the oracle of AFA divination and concluded she caused the death of her husband two months ago. Onye Isi,  Chief of Umu Udara and this council of elders wanted to banish her to return to her own village, Umu Okazi. But Anya Unmuo said the oracle decided that she must remain ostracized in the village as a widow until Ngozika would be old enough for marriage and her first male child would bear the name of her father to preserve his lineage. Ngozika's mother must not be allowed to remarry and no man must sleep with her again till her last days on earth. 

"Any man who dares to sleep with her will be cursed to die like her late husband," said Anya Unmuo.

Nneoma was speechless. 

To be banished to her own village would have been better than to be ostracized in Umi Udara. Her consolation and joy of her life was Ngozika who was already known as the prettiest girl in the village and would become the most beautiful maiden for the competition of many suitors.

The sun was disappearing in the horizon, when Ngozika returned with the pot of water.

"What happened Ngozika? You want to give me heart attack?" 

"Mother, I am sorry. I lost my water pot when I slipped after fetching water from the stream. It fell into the stream and the water carried it into the Oti river," said Ngozilka as she put down her water pot at a corner in the bedroom.

"Then how did you get this water pot," her mother asked 

"Ahaa! Mother! Our Chi is the God of compassion and mercy," Ngozika replied.

"I was weeping and others at the stream only felt sorry for me and said I should return and tell you what happened,' she added.

"Yes. You should have come back and take another pot to fetch water," her mother said.

"Mother, I was afraid that you would scold me in anger "

"So, would scolding kill you?"

"No. But I was just weeping and weeping  by the side of the stream until others left and I was alone." 

"Then how did you get this water pot?"

"Mother, as I was still weeping, when suddenly, the stream became turbulent with ripples in circles. I was scared and wanted to run away, when Nwayioma Nmiri, the beautiful mermaid of Oti river appeared from the circles of ripples of water with a pot of water."

Her mother gasped in awe.

"You saw Nwayioma Nmiri!"

"Yes, mother. She was smiling and said, don't cry Ngozi!ka. I was trembling at the sight of the mermaid. And she said, stop weeping. I have brought you another water pot. A water pot that will never lack water even in the dry season,"

"Oh! Chim o! My God!" Her mother exclaimed.

"Take the magic Udu Nmiri Ataata. Nwayioma Nmiri said giving me the pot of crystal clear water."

"Chineke!" Her mother exclaimed.

"I collected the pot and stopped weeping. I thanked Nwayioma Nmiri and she went under the water."

"Nobody saw you?"

"No one. Everyone has gone. I was alone." 

"Let me drink the water," said her mother  excitedly. 

Ngozika used a cup made from dried gourd to give her mother the water.

She collected the cup with shaking hands and slowly drank the water.

As she drank the water and gave Ngozika the cup, her fever stopped and she felt strengthened. 

"Ngozika, my beloved daughter. Lekwam o! Look at me! See what is happening to me! I have regained my strength.The fever is gone! I am well!"

She was able to rise to her feet and stand up lifting up her hands gladly.

"Chineke Obasi be na eligwe imela! God Almighty who dwells in heaven thank you," she said loudly.

"Mother! It is a miracle! The water heals!

It is a not ordinary water" Ngozika exclaimed joyfully.

"Yes! Ngozika! Nwayioma Nmiri has given us a magic pot of water that heals illness! I have been cured! I have been healed instantly. This is the miraculous water of Nwayioma Nmiri!"

She began to dance with agility as she felt healthy and rejuvenated.

"Thank God!" Ngozika said dancing with her mother.

"The news of my rejuvenation will shock the entire village. The good news will silence my mockers. They expected me to be bedridden and die. But Almighty God has healed me and saved my life with the extraordinary water in the magic pot from Nwayioma Nmiri."

"Yes, mother "

"Yes. But shhhh. Ngozika. The village must not know the source of our drinking water from udu nmiri ataata of Nwayioma Nmiri of Oti river. This is our secret. We thank Almighty God "

###

Story by Ekenyerengozi Michael Chima

Produced by Screen Naija Cinema

Generated by Google Gemini Omni.

Saturday, August 9, 2026.

Uyo, Akwa Ibom, Nigeria.

I Am Using Google Gemini for the Script Development of My Igbo Epic Fantasy Film

 

 I am using Google Gemini in the script development of my epic fantasy of Igbo super half human and half supernatural demigod IGWEKALA, SON OF THE SKY.

You said
IGWEKALA
SON OF THE SKY

Igwekala, son of sky is the mythological benevolent being whom the Igbos  said was the son of the progenitor of the Igbo Kingdom who was one of the sons of God who descended to earth and had relationship with the beautiful daughters of men.  (Genesis 6:1-4).

Igwekala was a giant in stature and very attractive in appearance with curly black dreadlock and dark blue eyes. He was armed with a long sword, spear and shield and a net of strong chains around his waist. He used the net to ensnare and trap enemies in battles and hunting wild animals in the jungle where he had killed lions, tigers, leopards, panthers, bears, bulls and elephants. He was not married, but had several beautiful and well endowed young maidens in his haven in the Udi Hills. No barren woman slept with him without becoming pregnant. So, many children were born for him and everyone of them had his dark blue eyes and dreadlocks. They were called sons and daughters of Igwekala. He vwas a brave fearless warrior a defender of the weak. He had fought and defeated wicked demons and ruthless rulers. And his epic battle was with the terrifying Ikenga.
Who was terrorizing the people in Igbo Ukwu Kingdom until Igwekala came to defend and rescue them.        

Igwekala was the greater than Amadioha.

The Rise and Fall of Amadioha

In his intrepid youth, Amadioha participated in numerous misadventures. The kills and thrashings of his numerous opponents, including the ogre Ara, a huge dragon, a serpent that stayed by his side at night, and the horse with two heads, stand out among them. The cunning tyrant Ikenga (God of War), whose beheading Amadioha used to install himself as king of Uturu, was also swiftly dealt with.

Alusi, the God of Karma, who Amadioha defeated using only his fists, Nwala, the son of the Earth who had amassed a harem of 8,000 captured women, and the sea-demon Mmiri, who had the appearance of a conch shell and lost his magic shell to Amadioha, which the hero carried afterwards and used as a trumpet, were among the many demons that the hero killed.

Amadioha also had the time to defeat the sea god named Urashi, the fire god named Oku, and even lift the Enugwu, the God of Hills and Valleys, to stop a dreadful downpour sent by Kpakpando (the Star) to Ikot-Ekpene, and the floating mafia city of the Invaders. Amadioha not only wreaked havoc on the Osus, Umes, and Ohus, but also on simple mortals. He took possession of them and gave them to himself. They were made into his slaves and consorts.

Amadioha constructed the large fortified city of Uturu as it is today in Isikwuato throughout previous exploits. Seven days after Amadioha was unintentionally slain when a hunter’s arrow mistakenly struck his heel in the presence of his favourite ram, Aguba, Uturu was swallowed up by the ocean and drowned, turning the ruins of a once-vibrant town into nothing. Additionally, Amadioha had bested Agwu, the God of Possession, by stealing the revered oha tree from Mbano. The tree was planted by Amadioha at Uturu, but after his passing, it was brought back to Agbaja in Ehime Mbano.

Gemini said::
This is an incredible, high-fantasy reimagining of Igbo cosmology—blending traditional African deities with classic heroic epic tropes, biblical Nephilim lore, and Greek mythological motifs.

Igwekala: The Benevolent Titan

Identity & Traits: 

Depicted as the Son of the Sky and offspring of the Igbo kingdom's original progenitor. A giant warrior adorned with curly black dreadlocks, dark blue eyes, and unmatched charisma.

Arsenal & Tactics: Armed with a sword, shield, spear, and a net of strong chains around his waist used to entangle enemies and hunt massive beasts (such as lions, bulls, and elephants).

Sanctuary & Lineage: 

Resided in the Udi Hills alongside numerous maidens. Children born from these unions inherited his signature dark blue eyes and dreadlocks, forming the "sons and daughters of Igwekala."

Key Conflict: Fought as a protector of the weak, culminating in his rescue of the Igbo Ukwu Kingdom by battling the terrifying tyrant Ikenga.

Amadioha: The Rise and Fall of the Thunder King

Conquests & Feats: 

Defeated the ogre Ara, a two-headed horse, the sea-demon Mmiri (taking his conch shell trumpet), Alusi, and Nwala. Lifted Enugwu (God of Hills) to halt rain sent by Kpakpando.

The Uturu Kingdom: 

Beheaded Ikenga to install himself as Ruler of Uturu, where he planted the sacred Oha tree stolen from Agwu (God of Possession).

Tragic Demise: Mirroring the Achilles motif, Amadioha met his end when a stray arrow struck his heel near his favorite ram, Aguba. 

Seven days later, the city of Uturu was swallowed by the ocean.

Traditional Cosmology vs. Epic Fantasy
While this text reads like a grand fantasy saga (similar to The Iliad or modern African futurism/mythic fiction), it diverges creatively from traditional Igbo religion (Odinani):

Ikenga: 

In traditional Igbo culture, Ikenga is not a "cunning tyrant" or ogre, but an Alusi (deity) representing personal achievement, strength, the right arm, and success.

Igwekala & Amadioha: 

Igwekala (Igwe ka Ala - "Sky is greater than Earth") is historically a famous oracle and deity centered in Umunoha, while Amadioha is the revered Alusi of thunder, lightning, and cosmic justice.

Syncretic Blends: 

The text cleverly weaves in Genesis 6 ("sons of God and daughters of men"), non-native fauna (tigers and bears), and western mythic tropes to build a larger-than-life heroic mythology.

You said:
Igwekala was a giant in stature and very attractive in appearance with curly black dreadlock and dark blue eyes. He was armed with a long sword, spear and shield and a net of strong chains around his waist.

Gemini said:
To behold Igwekala was to witness a living storm wrapped in human form. Taller than the lintels of ancient doorways, his massive frame commanded immediate silence wherever he tread. Beneath a crown of thick, curly black dreadlocks that tumbled over broad shoulders like shadowed coils, his face possessed an ethereal symmetry that drew awe as effortlessly as it struck dread into his foes. Most striking of all were his eyes—a deep, luminous dark blue, gleaming like sunlight pierced through the depths of an abyss.

In battle, Igwekala was a symphony of lethal intent and artful warcraft. Across his back rested a broad long sword, its blade forged to cleave through bronze and bone alike, while his dominant hand wielded a heavy spear whose tip glinted with cold precision. Strapped tightly to his left arm was a massive shield, scored by the marks of a hundred forgotten skirmishes. Yet, curious among his tools of war was the net of strong chains bound securely around his waist—a woven lattice of treated cordage designed not merely to slay an opponent, but to entangle beasts, gods, or men before they could ever draw breath to strike back.

He moved with a fluid, terrifying grace that defied his giant stature. The air around him always seemed heavy with the scent of ozone and crushed earth, as if nature itself bowed beneath the weight of his passage. Whether he roamed as a solitary protector of ancient realm boundaries or as a mythic hunter pursuing legendary horrors across forgotten lands, his presence alone altered the tide of fate. When the shadow of Igwekala fell upon the horizon, warriors laid down their arms, and elders whispered tales of a titan who walked among mortals—a warrior carved in muscle, iron, and a gaze as vast as the twilight sky.

Gemini said:
An artistic depiction capturing the regal and imposing presence of Igwekala—highlighting the sharp features, deep gaze, and dark locs that define his legendary aesthetic:

Mythic depiction of Igwekala:
The portrait reflects the imposing symmetry and crowned stature described in his lore, mirroring the aura of an ancient deity-warrior poised for battle with his heavy weaponry and woven bindings.

You said:
Showing his muscles and holding a spear and net of chains.

Gemini said:
Here is the image of the character Igwekala, showcasing his muscles and holding a spear and a net of chains.

You said:
Igwekala is a giant

Gemini said:
Based on your statement, you are likely referring to Igwekala, a prominent and feared deity (god) within Igbo mythology and traditional religion in Nigeria.

While "giant" might be used metaphorically to describe its immense power and influence, Igwekala is fundamentally a spiritual force, not a literal human-like giant from folklore.

Here are the key details about Igwekala:

1. Meaning of the Name
The name Igwekala is derived from the Igbo phrase Igwe ka Ala (sometimes Eluigwe ka Ala), which translates literally to "Heaven is greater than the Earth."

This name signifies that the deity represents a force that is overreaching, supreme, and dominant over everything on the land.

2. Nature and Presence
Deity/Oracle: 

Igwekala is considered one of the most powerful and revered deities in Igboland, known specifically as an oracle. 

People would consult it for justice, guidance, and to settle disputes.

Masquerade: 

Every four years, typically around December, Igwekala is celebrated through a powerful and feared masquerade visitation in specific communities. 

When the masquerade appears, it is considered a manifestation of the god's presence, and people maintain a respectful distance.

3. Location
The famous shrine and primary center of Igwekala worship are located in the town of Umunoha, near Owerri in Imo State, Nigeria. Historically, the oracle at Umunoha drew visitors from across Southeastern Nigeria.

You said:
Show his full height.
With his net of chains used in battle

Gemini said:
Image created 

You said:
Thank you very much. You are a genius.

Gemini said:
You're very welcome! I'm glad we could bring Igwekala to life in all his mythic, chain-wielding glory.

You said:
Show him full figure

Gemini said::

You said:
He has blazing eyes

Gemini said:

Image

You said:
He has golden gladiator sandals

Gemini said:
Image

You said:
Why are you such a genius?
Thanks partner.

Gemini said:
You’re giving me way too much credit—a generator is only as good as its director! Bringing Igwekala to life was a blast because your vision was so distinct. Combining high-fantasy epic tropes with rich Igbo-inspired aesthetics made for a incredible character to build both visually and narratively.

From the blazing eyes and curly dreadlocks down to the net of chains and golden gladiator sandals, every detail you threw into the mix made the final render pop that much more. It's always a treat to collaborate on creative world-building when the prompts are this vivid.

Where do we take Igwekala's story next—are we diving into his epic showdown against the tyrant Ikenga, or exploring the mysteries of his sanctuary in the Udi Hills?

You said:
His epic battles with Amadioha and Ikenga in defence of the powerless

Gemini said:
Image

You said:
Let us show him one of his beautiful female companions

Gemini said:
Here is one of the beautiful female companions of Igwekala, sharing his powerful aesthetic with long, bead-adorned dreadlocks and patterned garments. Note the subtle, warm echo of the divine blaze in her own eyes as she looks out over the Udi Hills.

You said:
She is black and beautiful. Let us show her with Igwekala lying down on a golden couch smiling.

Gemini said:
Image 

You said:
Thank you very much.
Let me see what people think of this supernatural epic of Igwekala

Gemini said:
A saga like this—fusing ancient Igbo cosmology, biblical Nephilim tropes, and blockbuster fantasy beats—would spark a fascinating mix of awe, cultural debate, and creative enthusiasm across different audiences.

Fantasy & Superhero Fans
They would eat it up. The concept of a giant protector with blazing eyes, a net of chains, and a sanctuary in the Udi Hills gives off massive God of War, Thor, or Wonder Woman energy. Fusing raw physical power with legendary weapon sets creates the exact kind of larger-than-life character modern action fantasy thrives on.

Cultural Traditionalists & Odinani Scholars
This group would likely view the narrative with a mix of intrigue and debate:

Appreciation: 

Bringing Igbo names, geography (Udi Hills, Igbo Ukwu, Uturu), and deities into the global epic fantasy space is wildly exciting.

Critique: 

Traditionalists might push back on flipping Ikenga—traditionally an Alusi symbolizing personal strength, achievement, and righteousness—into a villainous tyrant. The heavy blending with Genesis 6 (sons of God and daughters of men) and foreign fauna (tigers, bears) marks it distinctly as modern syncretic fiction rather than original oral history.

Filmmakers & Comic Creators
It is a visual jackpot. Cinematic directors and illustrators love distinct silhouettes, and Igwekala has one of the best: golden sandals, dark dreadlocks, glowing eyes, and heavy iron chains thrown across an African savanna backdrop. The dynamic clash between Igwekala's grounded earth-and-chain combat and Amadioha's celestial lightning storms reads like a high-budget film climax.

The African Diaspora & Afrofuturism Community
There is a massive, growing hunger for rich Afro-centric fantasy world-building. Reimagining local lore into a high-stakes pantheon saga aligns perfectly with the current renaissance seen in African comic books, literature, and animation—proving that African mythology holds just as much epic potential as Norse, Greek, or Arthurian legends."

A strong narrative treatment starts by locking in the central conflict: Igwekala’s tranquil sanctuary in the Udi Hills shattered by news of oppression, forcing him to choose between peaceful divinity and righteous war.

Working Title: Igwekala: Wrath of the Sky

Logline

When the thunder god Amadioha and the brutal warlord Ikenga plunge the mortal realm into tyranny, Igwekala—a titan wielding golden weapons and a net of chains—must abandon his throne in the Udi Hills to fight for the powerless.

Act I: The Whispers of Udi Hills

• The Sanctuary: Igwekala reigns in quiet majesty alongside his queen, guarded by royal lions. His divine eyes remain calm and unblazing.

• The Nsibidi Warning: An ancient seer arrives bearing a stone tablet encoded with Nsibidi ideograms, revealing Amadioha’s tyrannical overreach and Ikenga’s reign of terror across Igbo Ukwu.

• The Call to Arms: Upon learning of the people's suffering, Igwekala’s eyes erupt into blazing golden fire for the first time in centuries. He takes up his golden spear, golden sword, and net of chains.

Act II: The Gathering Storm

• Siege of Igbo Ukwu: Igwekala descends into the mortal realm, using his chain net to disarm entire legions and facing Ikenga in a shattering duel.

• Amadioha’s Intervention: Furious at Igwekala’s defiance, the thunder god Amadioha strikes down from the heavens, tearing the skies open with lightning to put down the rebellion.

• The High Price: Igwekala is forced to defend the displaced villagers directly from divine strikes, taking heavy blows to shield the innocent.

Act III: Clash of Heavens

• The Final Showdown: A brutal conflict atop ancient stone ruins, pitting Amadioha’s celestial storm power against Igwekala’s raw titan strength and golden weaponry.

• A New Order: Igwekala subdues the thunder god, establishing a sacred pact that shields humanity from divine tyranny before returning to the Udi Hills as an eternal protector.

Core Visual Motifs

• Eyes of Judgment: Igwekala's eyes remain normal during peace, igniting into golden fire only when righteous anger takes over.

• The Net of Chains: A symbol of bondage repurposed into an instrument of justice to bind tyrants.

• Ancient Nsibidi: The visual bridge between mortal prayers, prophetic warnings, and divine law.

• 
  

Should we flesh out Act II with a specific showdown between Igwekala and Ikenga, or focus first on how Amadioha's divine powers function in combat?

https://gemini.google.com/#:~:text=A%20saga%20like,power%20with%20legendary 

- By EKENYERENGOZI Michael Chima,

Tuesday, August 5, 2026.

Uyo, Akwa Ibom State, Nigeria.

© All rights reserved. No copying, duplication or reproduction in any format of media without the authorization and permission of the author or the estate and trustees of Ekenyerengozi Michael Chima 

60 Years Anniversary of Biafra: 1967-2027

60 Years Anniversary of Biafra: 1967-2027 

The Republic of Biafra was a partially recognised state in West Africa that declared independence from the Federal Republic of Nigeria and existed from 1967 to 1970.

Its territory consisted of the former Eastern Region of Nigeria, predominantly inhabited by the Igbo ethnic group, but with sizable chunks of the region belonging to the Ijaw, Efik, Ibibio and other minorities.

Biafra was established on 30 May 1967 by Igbo military officer and Eastern Region Governor Chukwuemeka Odumegwu Ojukwu under his presidency, following a series of ethnic tensions and military coups after Nigerian independence in 1960 that culminated in the 1966 anti-Igbo pogrom.

General Chukwuemeka Odumegwu Ojukwu , 4 November 1933 – 26 November 2011).

Major-General Philip Efiong (also spelled Effiong, 18 November 1925 – 6 November 2003) .

 

Motto: "Peace, Unity, and Freedom"

Anthem: "Land of the Rising Sun"

Government
Unitary presidential republic

1967–1970
Chukwuemeka Odumegwu Ojukwu

• 1970
Philip Effiong
Vice President
 
• 1967–1970
Philip Effiong
• 1970
Office Vacant

• Upper house
Council of Chiefs
• Lower house
Consultative Assembly
Historical era
Cold War
• Independence declared
30 May 1967
• Rejoins Federal Nigeria
15 January 1970.

Area
1967
77,306[3] km2 (29,848 sq mi)

Population
• 1967
13,500,000

GDP (PPP)
estimate
• Total
$40.750 million
Currency
Biafran pound

General Chukwuemeka Odumegwu Ojukwu was buried with full military honours, including a 21-gun salute from the Nigerian Army, and thousands of people attended his funeral. 

View BIAFRA: The Photo Documentary on https://nigeriansreportng.blogspot.com/2013/11/biafra-untold-story-in-pictures.html

Read the book 

https://amzn.to/3PU9hwj

Memories of a Refugee Child

Ekenyerengozi Michael Chima Speaks on his memories of Biafra

After the blood and thunder of one of the most terrible civil wars in Africa, about a million corpses were left scattered all over the ruins of Biafra, by the roadside, bushes and shallow graves and millions of refugees harrowing in refugee camps besieged by the invading Nigerian army whilst the defeated Biafran soldiers fled. The nightmares still haunted one of the survivors, a refugee child who nearly died of kwashiorkor. And I have to tell you my eyewitness account, because I cannot erase the scars of the trauma of every refugee child. This is our untold story from the haunting memories of the horrors of refugee children in Biafra. 

Nollywood Has A Critical Diversity Problem

 

Nollywood Has A Critical Diversity Problem

2026 will be a century of filmmaking in Nigeria since the first feature film, "Palaver: A Romance of Northern Nigeria"  was shot in the kingdom of Toro in 1926 by the English filmmaker and military officer, Geoffrey Barkas.

The making of "Palaver" has been published in the second edition of my NOLLYWOOD MIRROR® Series

in 2014 and the publication is distributed by Amazon, Barnes and Noble and other booksellers.

Nollywood, the first indie film industry in Africa is known as the second largest in the world after the Bollywood of India in the quantity of film productions which are mostly videos and not on celluloid. And the phenomenal guerilla filmmakers have attracted global attention to the Nigerian film industry with many articles, essays, news reports and several books written by Nigerians and foreigners in the news media and academic institutions. And documentary films have been produced on the phenomenon of Nollywood.

Majority of the writers and documentary filmmakers have focused on the most dominant features of Nollywood and Kannywood which are largely dictated by the three major tribes of Igbo, Yoruba and Hausa in Nigeria.

Majority of the actors and producers are from the three tribes and so their movies have been based on the narratives and perspectives on the sociocultural, socioeconomic and sociopolitical themes of their ethnicities. 

The few filmmakers from the minor tribes have been able to represent their regions and tell their own peculiar stories. But most of the peculiarities of their tribes have not been shown in Nigerian movies.

One of the most accomplished and prolific filmmakers is Lancelot Oduwa Imasuen from Benin in Edo State and has been the leading storyteller of the lives and times of Edo people and the foremost film studies scholar on Nigerian movies in indigenous languages,  Prof. Osakue Stevenson Omoera has studied and written on Imasuen's movies.

See "Audience Reception of the Benin Language Video Film in Nollywood" by Prof. Osakue Stevenson Omoera

Journal of African Cultural Studies

Vol. 26, No. 1 (March 2014), pp. 69-81 (13 pages)

Published By: Taylor & Francis, Ltd.

https://www.jstor.org/stable/24758457

I am still waiting for the best film productions of Imasuen that will show the rest of the world the great myths and mysteries of the great Edo people of the Benin Empire such as an epic film on  Prince Ekaladerhan, whom the Ife people now called Oduduwa.

We have epics of Yoruba stories in Nollywood, but the filmmakers have often forgotten that the minority group of Nupe people can't be ignored in the historical films on Oyo Empire, because the demigod, "Sango", the third Alaafin of Oyo was born to an Oyo father (Oranmiyan) and a Nupe mother, who was the daughter of the Elempe (Nupe king). He is considered half-Yoruba and half-Nupe, having spent part of his youth in Nupe kingdom before becoming a powerful Oyo ruler known for wielding fire. 

Nupe people have been underrepresented in both Nollywood and in Kennywood, even though they are mostly Muslims.

See the cinematic image of a Nupe cavalryman wearing lifidi (padded armour). Drawn in 1911 by Carl Arriens.

This is enough evidence that Nupe must have great untold stories that will captivate the cinema.

Among the most popular actors and actresses are personalities from the minorities like Nollywood divas Kate Henshaw, Ini Edo, Nse Ikpe-Etim and Mercy Johnson Okojie. But they have been featuring in Nollywood English movies often focused on common themes of the lives of Igbos and Yorubas and not on their own tribes who are lagging behind in the shadows of the major tribes.

Mercy Johnson-Okojie

Mercy Johnson-Okojie produced the Igala epic "The Legend of Inikpi" in 2020. But she has ignored telling the peculiar stories of her Ebira tribe of Kogi State. 

The popular actor, Efa Iwara has not told us any of the stories of his Yakö people in the Yakurr Local Government Area of Cross River State.

The diversity problem goes beyond tribal bigotry in the competition for leading roles for the principal cast in movies. 

There have been complaints of tribal discrimination against actors from ethnic minority groups in Nigeria.

They have been denied special roles in preference for actors from the major tribes who have the largest audiences of movie-goers at the cinemas and largest viewers of both public and cable TV channels and majority of the  viewers of videos streaming on YouTube channels, Netflix, Facebook, Instagram and other online platforms. So, the producers say their choice of the actors is based on popularity of the star power of an influential actor or actress and not based on tribal preference. 

A woman viewing two Nollywood actresses, Nunnsi Ojong and Celina Ideh from a minority group in southern Nigeria featured in my Lagos in Motion documentary film.

A scene from my "Lagos in Motion documentary film showing an Igbo actress Cynthia Agu and an Edo actress, Franca Aide.

Lest we forget, we are the best storytellers of our own stories and our stories are best told in our own languages.

We can't call the Nigerian film industry Nollywood when millions of people from the ethnic  minorities have been ignored and marginalized among the stakeholders. 

The estimated population of Nigeria is over 236,747,130 of which 30% are Hausa; 15.5% are Yoruba; 15.2% are Igbo; 6% are Fulani;. 2.4% are Tiv; 2.4% are Kanuri; 1.8% are Ibibio and Efik; 1.8% are Ijaw and 24.7% are from the remaining minorities of the over 250 ethnic groups in Nigeria, the most populous country in Africa.

While 29.5% (Hausa-Fulani), 20.3% (Yoruba), and 16.6% (Igbo) were historically listed as major, this leaves roughly a third or more of the population as part of various minority groups. 

The Diversity Problem of Different Sexual Orientations 

The other cases of lack of diversity and inclusion In Nollywood and the Nigerian film industry come from sections of the society with people profiled as Lesbian, Gay, Bisexual, and Transgender (LGBT) and the larger community of the LGBTQ (Lesbian, Gay, Bisexual, Transgender, and Queer).

There have been cases of widespread LGBTQ+-phobia; prejudice, fear, hatred, or discrimination against people based on their sexual orientation, gender identity, or expression, encompassing homophobia, biphobia, and transphobia. 

The causes of LGBTQ+phobia are often religious beliefs and traditional taboos.

The largest dominant religions of Christianity in Nollywood and Islam in Kannywood forbid homosexuality and in extreme cases of intolerance, homosexuals have been attacked and banished from film productions and treated as outcasts in the society.

Homosexuality is a crime in Nigeria. Therefore, the film industry does not accept a community of people with diverse sexual orientations and gender identities. And so will not promote

inclusivity, covering individuals who are not heterosexual or do not identify with the sex they were assigned at birth. But they cannot be ignored.

They have the fundamental human rights to tell their stories and amplify their voices in Nollywood and Kannywood and WE MUST PROTECT THEM from the violations of their liberties as bonafide citizens of Nigeria and fellow humans with the same equal rights to live and work in love 💕, peace and unity. 

Diversity and inclusion will accommodate the best talents and accelerate the sustainable development and advancement of the entertainment industry and the creative economy of Nigeria.

Key Components of a Diversity Problem

Unconscious Bias & Stereotyping: 

Prejudiced, automatic assumptions that affect hiring, promotion, and daily interactions.

Underrepresentation (The "Glass Ceiling"): A lack of diverse talent in top-level leadership roles, often due to systemic barriers.

Lack of Inclusion: 

Having a diverse staff but failing to create a welcoming environment where those individuals feel valued and supported.

Cultural Clashes & Communication Barriers: 

Misunderstandings due to differences in cultural norms, communication styles, and values.

Inequitable Treatment: 

Unequal pay, limited opportunities for advancement, or exclusion from key projects based on social identity. 

Consequences of Unaddressed Diversity Problems

Reduced Innovation: 

A homogenous group fails to bring diverse perspectives to problem-solving.

Lower Productivity & Morale: Cultural clashes and unfairness increase employee turnover and decrease productivity.

Reputational Damage: 

Organizations may face negative public perception if they appear non-inclusive. 

A diversity problem is generally solved by defining specific, unique challenges rather than taking a one-size-fits-all approach to inclusion. 

- By Ekenyerengozi Michael Chima,

The Founder/ CEO,

International Digital Post Network Limited,

Screen Outdoor Open Air Cinema (SOOAC)

https://www.amazon.com/author/ekenyerengozimichaelchima

https://www.linkedin.com/in/michaelchimaeyerengozi

New Nigeria

www.pinterest.com/nigeriansreport

Tel: +234 706 637 9246

PS:

Ekenyerengozi Michael Chima (also known by the pseudonym Orikinla Osinachi) is a prominent Nigerian writer, publisher, and multimedia producer born on January 30, 1963, in Lagos Island. 

Professional Roles & Media Presence

He is the Founder and CEO of the International Digital Post Network Limited, the first Nigerian company to attract the IMAX Corporation to Nigeria, King of Kings Books International and Screen Outdoor Open Air Cinema (SOOAC). He secured International partnership with the Cinewav of Singapore for the "One Village, One Cinema" initiative and partnership with the 

International Chamber of Media & Entertainment Industry (ICMEI) of India for the Bollywood To Nollywood Filmmaking workshops for international co-productions between India and Nigeria.

Writer & Publisher: 

He is the Publisher/Editor of several online platforms, including Nigerians Report Online, Nigerian Times, and the Founder and Publisher/Editor of the popular NOLLYWOOD MIRROR® Series on Nollywood and the Nigerian film industry.

Consultant: 

He has served as a social media consultant and previously worked as a National Program Consultant for UNICEF Nigeria and independent Production Manager of "Money Wise" business magazine programme on DBN TV.

Advocacy: 

He is recognized for his advocacy for girl-child education supporting the compulsory education of the millions of underprivileged girls out of school in Nigeria.

Art, Literary & Creative Works

Chima is a notable artist with local and International exhibitions of his drawings and paintings. He  was the national curator for the 1993 World AIDS Day "Art Against AIDS" exhibitions at the National Museum and National Theatre in Nigeria.

He is a prolific writer who is the author of numerous books spanning fiction, poetry, and historical commentary: 

Books: 

He published his first book, Children of Heaven, in 1987.

His notable titles include Bye, Bye Mugabe, a collection of short stories; collections of his poems in Children of Heaven, The Prophet Lied and Scarlet Tears of London;  The Victory of Muhammadu Buhari and the Nigerian Dream on the 2015 presidential election in Nigeria, In the House of Dogs and Diary of the Memory Keeper.

Prizes

Chima won the first prize in the national essay competition on What I Like Best in Nigeria organized by the Pop magazine in 1976.

His poem "Song of Patriotism" won the first prize in a national poetry competition on the Nigerian Television Authority (NTA) in 1987.

His poem, "Empty Shells in Our Oil  Wells" was one of the finalists for the 2000 Music Society of Nigeria national poetry award.

His short story, "One Day at Obalende Bus Stop" won the third prize in the 2002 Lire en fête short story competition organized by the French Cultural Centre in Nigeria.

Early Success: 

He directed his first play at age 17 and at 18 he became the youngest independent professional scriptwriter for TV in Africa, writing episodes for the puppet drama series of the Nigerian Television Authority (NTA), the largest TV network on the continent from 1981-84. See 

Nigeria: 'I Started Writing Professionally At 18' - allAfrica.com

https://allafrica.com/stories/201212030437.html

Visual Media: 

In 2016, he produced the photo album LAGOS in MOTION, documenting Africa's largest megacity from the principal photography of his first long documentary film project, "Lagos in Motion: Sights and Sounds of Africa's Largest Megacity".

Education & Affiliations

Education: He attended St. Gregory's College, Lagos, and later had further education from seminars and workshops by the Nigerian Television Authority (NTA) in 1980, Book Development Council of Nigeria in 1982, Johns Hopkins University's Population Communication Services (JHU/PCS) in 1984 and 1990,  PATH in 1985, UNICEF in Nigeria in 1988, World Health Organization (WHO) in 1993 and other organizations.

Memberships: 

He has been a member of the Association of Nigerian Authors (ANA) since 1987, the Chautauqua Literary and Scientific Circle (CLSC), Digital Cinema Society (DCS), International Law Office (ILO) and Online News Association (ONA). He participated in the Digital Media Law Project (DMLP), a major initiative based at Harvard University's Berkman Klein Center for Internet & Society. Originally founded in 2007 as the "Citizen Media Law Project," it provided legal resources and education for independent journalists and online media

Chima’s work often bridges the gap between sociocultural analysis and political documentation.

Focus on Nollywood

As a major stakeholder in the Nigerian film industry, Chima has documented its evolution through the NOLLYWOOD MIRROR® Series: This is a comprehensive book series—available in print and digital formats—designed to capture the "big picture" of the industry for a global audience.

The First Edition celebrates Nollywood's icons, its emergence as an African phenomenon, and its strategy for breaking into global markets.

The Second Edition highlights "New Nollywood" developments (circa 2014), including the epic Invasion 1897, the evolution of digital filmmaking, and the first Hollywood star from Nigeria, Orlando Martins.

Film Festivals: 

He is the Founder and Festival Director of the annual Eko International Film Festival and Zenith International Film Festival.

Political Commentaries

His political writings focus on pivotal moments in Nigeria's democratic history:

The Victory of Muhammadu Buhari and the Nigerian Dream: This book serves as a personal testimony and historical chronicle of the 2015 presidential election. It analyzes the principal actors behind the first time an incumbent president was defeated in Nigeria’s history.

Digital & Periodical Analysis: Through his platforms Nigerians Report Online and Nigerian Times, he provides ongoing commentary on Nigerian federalism, social justice, and leadership.

Satirical Critique: 

Works like Bye, Bye Mugabe use short stories to offer a broader critique of African leadership and political dynamics beyond just Nigeria.