Monday, December 9, 2013

Half of a Yellow Sun Gets Distributors in UK, Australia, Canada and New Zealand!




I bring you the good news that Nigeria’s most expensive film at the moment Half of a Yellow Sun has found distributors, according to Tambay A. Obenson of Shadow and Act, international sales have been brisk, as the sales company representing the film, Metro International Entertainment, reported that it has sold UK, Australia, Canada and New Zealand rights to the Biafran War film, an adaptation of famous author Chimamanda Ngozi Adichie's Orange Prize-winning novel of the same title. Metro said that it is currently fielding "multiple offers" from USA distributors and finally we have the first official movie posters of Half of a Yellow Sun!


 




















    BOOK OF THE MONTH:

    So much has been written and published on Nollywood, our Nollywood, the phenomenal Nigerian film industry producing thousands of home videos telling stories of Nigerians from the past to the present and has caught the attention of the rest of the world to say WOW! African magic?

    Nollywood Mirror

    Paperback, 104 Pages
    (1 Ratings)
    Did you know that Ivorian rebels in the bush stopped fighting when a shipment of Nollywood DVDs arrived from Lagos? Did you know that Zambian mothers said that their children now talk with accents copied from Nollywood movies? Did you know that when the President of Sierra Leone asked Genevieve Nnaji to join him on the campaign trail he attracted record crowds at rallies, because of her? Yes, Nollywood is our African magic that has hooked the world. The maiden edition of NOLLYWOOD MIRROR® is a celebration of the best of Nollywood.



     
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    The Famous Nigerian Actor Meets the Famous Nigerian Filmmaker in Canada

    Famous British-born Nigerian actor Chiwetel Ejiofor met the famous Nigerian filmmaker Lancelot Imasuen at the world premiere of "Half of a Yellow Sun" on Sunday September 8, 2013, in the Winter Garden Theatre at the 38th Toronto International Film Festival, Canada.

    Right now Chiwetel Ejiofor (star of Inside Man, American Gangster, Salt, 12 Years a Slave) is trending in Hollywood as one of the best contenders for the Best Actor Oscar at the 86th Academy Awards coming up on Sunday March 2, 2014, at the Dolby Theatre, Angeles, California, for his unforgettable role as "Solomon Northup" in Steve McQueen's 12 Years a Slave, a 2013 British-American epic historical drama.

     Lancelot Imasuen (director of Entanglement, Home in Exile, Bent Arrows, A Private Storm, ABCs of Death 2, Invasion 1897) is the buzz of the moment in Nollywood for one of the most ambitious movies in the Nigerian film industry, his historical epic Invasion 1897 based on the invasion of the Benin Kingdom by the British Empire in 1897 and how they carted away the priceless ancient artifacts belonging to the kingdom. And he is also trending in Hollywood for being the only African director among the 26 selected directors making the short horror thrillers of The ABCs of Death 2 series.

    Lancelot Imasuen with Mitch Davis, an associate producer of The ABCs of Death 2. 
    Mitch is the famous director of The Other Side of Heaven , a 2001 American adventure drama film, and has also written and directed Windrunner and A House Divided, a modern-day tale of Jewish man's undying love for a Palestinian woman in Israel.  


    ~ By Ekenyerengozi Michael Chima


     
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    Sunday, December 8, 2013

    100 ICONS OF NIGERIA: 1914-2014



    To celebrate the Nigeria Centenary next year 2014, Nigerians Report Online, the flagship of citizen journalism in Nigeria will recognize the illustrious patriots who have been the nation builders of modern Nigeria from 1914-2014.  They include icons of democracy and governance, icons of education, icons of medicine, icons of engineering and science, icons of business and industry, icons of public service, icons of sports, icons of arts and culture (including icons of music, icons of movies, icons of literature, icons of beauty and haute couture), icons of Information Technology, icons of journalism and other icons who have also achieved great things in the making of modern Nigeria.

    Nigeria has heroes and we should celebrate our heroes, because majority of our children and youths are ignorant of our heroes who should be role models worthy of emulation for their inspiration and motivation to excel and succeed in life and join in the nation building of a New Nigeria in the leadership of Africa among the comity of nations in the world.

    We should celebrate the nation builders and not title chasers.
     These nation builders are champions who have sacrificed a lot and paid the price, and some in fact paid the supreme price for freedom, peace and unity. That is why I published the The Mandate of MKO Abiola, written by Adeleke O. Adeyemi, aka Mai Nasara, the winner of the $100, 000 Nigeria ;Prize for Literature in 2011 for his book The Missing Clock. "The Mandate of MKO Abiola" is one of the most distributed books on the martyr of June 12.



    I am the custodian of a sacred mandate, freely given, which I cannot surrender unless the people so demand, and it is by virtue of this mandate that I say that the  decision of  the Federal Military Government to cancel the election of June 12, 1993 is invidious, unpatriotic  and capable of causing undue and  unnecessary confusion in the country.
     ~ Chief MKO Abiola on June 12 1994, a year after the military annulment of the June 12, 1993 Presidential Election which he won and recorded as the freest presidential election in the history of Nigeria.

    It is the first book on MKO Abiola on iTunes.
     https://itunes.apple.com/us/book/the-mandate-of-mko-abiola/id462801240?mt=11
     It is also distributed all over the world by Amazon, Barnes and Noble and other booksellers.
     http://www.barnesandnoble.com/c/adeleke-o.-adeyemi
     http://www.lulu.com/shop/adeleke-o-adeyemi/the-mandate-of-mko-abiola/hardcover/product-1506072.html
     http://www.amazon.com/The-Mandate-of-MKO-Abiola/dp/9783752944

    As our Lord and Messiah Jesus Christ said:
     Let your light so shine before men, that they may see your good works, and glorify your Father which is in heaven.
    ~  Matthew 5:16, Holy Bible, King James Version (KJV).


    You are welcome to nominate these icons and the 100 ICONS OF NIGERIA: 1914-2014 will be published in a book to be released to celebrate the Nigeria Centenary.


    ~ By Ekenyerengozi Michael Chima, Publisher/Editor, Nigerians Report Online.

    When we appreciate and celebrate these great humans God has used to bless Nigeria, we are showing gratitude to the Almighty God and He will increase His blessings and favours in our nation. But when we fail to celebrate them, we are only showing how ungrateful we are and God does not like ungrateful people. So, let us be very glad and grateful and give God all the glory for great things He has done for us through His illustrious sons and daughters in Nigeria as our Lord and Messiah Jesus Christ said:

    Let your light so shine before men, that they may see your good works, and glorify your Father which is in heaven.
    Matthew 5:16, Holy Bible, King James Version (KJV)

     
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    Friday, December 6, 2013

    American Capital Energy & Infrastructure Commits $130 Million to Nigerian Power Sector



    5 Dec 2013 14:25 Africa/Lagos

    American Capital Energy & Infrastructure Commits $130 Million to Nigerian Power Sector 


    ANNAPOLIS, Maryland, Dec. 5, 2013 /PRNewswire/ -- American Capital Energy & Infrastructure ("ACEI") announced today that it has committed to invest up to $130 million in Azura Power Holdings Ltd. ("Azura"), the company responsible for developing the Azura-Edo power project in Edo State, Nigeria. With a goal of becoming the leading power development company in West Africa, Azura will utilize ACEI's investment to fund the first and second phases of the Azura-Edo power project, pursue its greenfield development pipeline and future acquisitions, expand its team, and grow its construction and operational capabilities.


    The Azura-Edo power project is a proposed 450MW open cycle gas turbine power station being developed near Benin City in Edo State and represents the first phase of a 1,000MW power plant facility. Azura and the Nigerian Bulk Electricity Trading Plc signed a groundbreaking power purchase agreement on April 22, 2013, which is being used as a template for other project-financed independent power producers in the country. The transaction was showcased by President Goodluck Jonathan as critical to the Nigerian power sector reform process. The first phase of the plant, which is targeted to reach financial close in early 2014 and come on stream in 2016/2017, is forecast to create over 1,000 direct jobs during its construction and operation. The project is expected to have a positive impact on the industrial and social wellbeing of the area, leading to further economic development and job creation.


    Mr. Paul Hanrahan, CEO and co-founder of ACEI, said: "We are extremely pleased to announce our investment in Azura, a good example of the type of investment in high growth platforms in the energy infrastructure space that we are targeting. Our investment is in recognition of the significant progress made by the Azura co-founders on the first phase of the Azura-Edo power project, the growth opportunities in the Nigerian and West African markets, and our confidence in the Federal Government of Nigeria's power sector reform program."


    In June 2013, ACEI joined Power Africa, a United States Government initiative launched by President Obama that is focused on supporting economic growth and development in Africa by increasing clean and reliable access to electrical power. The United States Government along with the governments of Ethiopia, Ghana, Kenya, Liberia, Nigeria and Tanzania, and private sector partners have coordinated to accelerate and spur investments in the continent. As a partner in the presidential initiative, ACEI is actively pursuing investments in African power companies to originate, develop, finance and operate regional energy infrastructure assets in West Africa, East Africa and Southern Africa, which, over the next four years, could reach $800 million in total investment.


    "In line with our Power Africa efforts, ACEI is investing in the leading independent power producer platform in this key African market," said Lisa Pinsley, ACEI Director of Africa Investments. "Nigeria is the most populous country in Africa with one of the highest growth rates in the world. With a current population of over 170 million, the seventh largest in the world, Nigeria's expanding economy suffers from a lack of power infrastructure. The United Nations estimates that Nigeria's population will reach 230 million within the next 20 years, and the total grid-based power generation capacity must rise tenfold to 40,000MW to meet the demand. Azura is, and will continue to be, a key driver in this growth in capacity."


    Mr. Sundeep Bahanda, co-founder of Amaya Capital Partners, the lead sponsors of Azura, and Dr. David Ladipo, Managing Director of Azura said in a joint statement: "ACEI's investment will exert a transformative impact on our business and accelerate Azura's drive to create a flagship, multi-asset, power generation company. The development of Nigeria's electricity supply industry is a vast undertaking that requires a long term commitment from all parties. Together with ACEI, the Federal Government of Nigeria, state governments and our partners and advisers, we are committed to the creation of an indigenous world class business that will provide electricity to the people of Nigeria and, in so doing, will boost the country's industrial growth, its job creation and its social welfare."


    ABOUT AMERICAN CAPITAL ENERGY & INFRASTRUCTURE
    American Capital Energy & Infrastructure invests in global energy infrastructure assets, including power generation facilities, power distribution and transmission networks, energy transportation assets, fuel production opportunities and product and service companies focused on the power and energy sectors. ACEI is part of American Capital, Ltd.'s (Nasdaq: ACAS) ("American Capital") asset management affiliate, American Capital Asset Management, LLC. For further information, please refer to http://www.ACEI.com.


    ABOUT AMERICAN CAPITAL
    American Capital is a publicly traded private equity firm and global asset manager. American Capital, both directly and through its asset management business, originates, underwrites and manages investments in middle market private equity, leveraged finance, real estate, energy and infrastructure and structured products. American Capital manages $20 billion of assets, including assets on its balance sheet and fee earning assets under management by affiliated managers, with $117 billion of total assets under management (including levered assets). Through an affiliate, American Capital manages publicly traded American Capital Agency Corp. (Nasdaq: AGNC) with approximately $10 billion of net book value and American Capital Mortgage Investment Corp. (Nasdaq: MTGE) with approximately $1 billion of net book value. From its eight offices in the U.S. and Europe, American Capital and its affiliate, European Capital, will consider investment opportunities from $10 million to $750 million. For further information, please refer to http://www.americancapital.com.


    ABOUT AZURA POWER HOLDINGS LTD.
    Founded by Amaya Capital Partners, Azura is a world-class power development company that was created to focus on the development, construction, acquisition and operation of power generation facilities in Nigeria and over time, West Africa. Azura utilizes its project development and financing skills, in addition to the capital and expertise of Amaya and its partners, to develop and acquire large scale gas-fired Independent Power Plants in Nigeria. For further information, please refer to http://www.azurawa.com.


    ABOUT AMAYA CAPITAL PARTNERS
    Amaya, established in 2009, is a principal investment firm focused on energy related projects in West Africa. Unlike a typical private equity fund, Amaya does not manage third party funds but rather invests as a principal from an early development stage in a pro-active manner using the capital, capabilities, and resources of its founders and associates. Amaya has interests in the gas and power sectors in Nigeria. For further information, please refer to http://www.amayacap.com.


    Contact: +1-443-214-7070
    Paul Hanrahan, Chief Executive Officer
    Richard Santoroski, Managing Director
    Rajeev Garside, Vice President
    Lisa Pinsley, Director, Africa Investments
    SOURCE American Capital Energy & Infrastructure





     
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    Farewell Madiba Mandela

    Farewell Madiba Mandela



     Madiba
    Alitshonanga lingenandaba
    The sun never sets without fresh news.
    And they are still coming and coming from everywhere  
    Yinkungu nelanga
    The mist and the sun are together.
    Sova singasemoyeni
    We shall hear, we are on the side towards which the wind blows.  
    Uhambe kakuhle
    Goodbye.

    1. Mandela’s tribal nickname is “Rolihlahla,” meaning “Troublemaker.”

    Other accounts translate Rolihlalhla to mean “to pull a branch from a tree,” which, of course, is something only a troublemaker would do. It was his teacher, Miss Mdingane, who gave him the English name “Nelson,” much to the relief of journalists everywhere when he became famous.  


    2. Mandela was expelled from university after less than a year. 

    After finishing boarding school, Mandela headed to Fort Hare Missionary College. Less than 12 months later, he was expelled from college for helping to organize a strike against the white colonial rule of the institution. One might call this foreshadowing.


    3. The United Nations decreed his birthday as Mandela Day.

    In 2009, the U.N. declared Mandela’s birthday, July 18, as Mandela Day to mark his contribution to world freedom. The holiday calls on individuals to donate 67 minutes to doing something for others, reflecting the 67 years that Mandela had been a part of the anti-apartheid movement.  


    4. Mandela is often referred to as Madiba, his Xhosa clan name

    Mandela is a member of the Thembu, a Xhosa clan, and is often referred to by his clan name, Madiba. It is a sign of the incredible diversity of people and languages in South Africa. The country has 11 different official languages.  


    5. Mandela’s father had four wives, and Nelson is one of 13 children.

    Mandela’s father, a local chief and councellor to the Thembu king, died from tuberculosis when his son was 9. Before that, he fathered 13 children by four wives, four boys and nine girls. After his father’s death, Mandela was put under the guardianship of Jongintaba, the Thembu regent.

    - See more at: http://afkinsider.com/1772/10-things-you-probably-didnt-know-about-nelson-mandela/6/#sthash.IaBdshDU.dpuf



     

     
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    Thursday, December 5, 2013

    100 Stars of Nollywood and Kannywood



    On Friday November 27, 2013, the Association of Movie Producers (AMP) in Nigeira celebrated their Nollywood @20 Grand Awards and honoured dozens of both notable and not so notable actors, actresses, producers, directors, screenwriters, sound engineers, make up artists, costumiers, entertainment reporters, marketers and distributors and others with awards in different categories. But there were some inexcusable omissions on their list of those who have achieved and contributed to what Nollywood has become today as Africa's biggest and largest home entertainment film industry of home videos and TV dramas. There was no call for nominations before they made their selections and till date there is still no list of the nominees and winners on their Nollywood @20 website http://nollywoodat20.com/, except a carousel of selected Nollywood stars, movie posters and news on how they came up with the idea of Nollywood @20 that would have been held last year 2012 when Nollywood actually became twenty years since the release of the best selling Igbo language home video "Living in Bondage" in 1992. But before "Living in Bondage", several best selling home videos were released in Yoruba and Hausa languages. The controversy on the true history of Nollywood is not the mission of our resolution to celebrate the shining stars of both Nollywood and Kannywood, because they are the ones who have attracted millions of movie lovers to watch thousands of their movies in videos and on TV and have become household names not only in Nigeria, but in other countries of Africa and the rest of the world. Millions of viewers have become passionate fans of these celebrated actors and actresses in Nollywood and Kannywood and they can nominate and vote for those who should make our final list of 100 Stars of Nollywood and Kannywood to be released in 2014 to celebrate the Nigeria Centenary.
      
    Toyin Adegbola.
     
    Genevieve Nnaji and Sola Sobowale.
     
    Pete Edochie and Ibinabo Fiberesima.
     
    Ngozi Ezeonu.
     
    Olu and Joke Jacobs.

    So much has been written and published on Nollywood, our Nollywood, the phenomenal Nigerian film industry producing thousands of home videos telling stories of Nigerians from the past to the present and has caught the attention of the rest of the world to say WOW! African magic? Did you know that Ivorian rebels in the bush stopped fighting when a shipment of Nollywood DVDs arrived from Lagos? Did you know that Zambian mothers said that their children now talk with accents copied from Nollywood movies? Did you know that when the President of Sierra Leone asked Genevieve Nnaji to join him on the campaign trail he attracted record crowds at rallies, because of her? Yes, Nollywood is our African magic that has hooked the world.
    ~ From Nollywood Mirror Series.

      Mofe-Damijo, Richard

    Saheed Balogun and Kate Henshaw.
     
    Adebayo Salami.
     
    Taiwo Hassan.
                             

    Van Vicker.
     
    Omotola Jalade-Ekeinde.

      
    Nollywood, Nigeria's booming film industry, is the world's third largest producer of feature films. Unlike Hollywood and Bollywood, however, Nollywood movies are made on shoe-string budgets of time and money. An average production takes just 10 days and costs approximately $15,000.
    Yet in just 13 years, Nollywood has grown from nothing into a $250 million dollar-a-year industry that employs thousands of people. The Nollywood phenomenon was made possible by two main ingredients: Nigerian entrepreneurship and digital technology.

    In the late 1980's and early 1990's, Lagos and other African cities faced growing epidemics of crime and insecurity. Movie theaters closed as people became reluctant to be out on the streets after dark. Videos for home viewing imported from the West and India were only mildly popular. Nigerians saw an opportunity to fill the void with products of their own.

    Jim Iyke.
     
    Mike Ezuruonye.
     
    Emeka Enyiocha.
     
    Desmond Elliot.

    Experts credit the birth of Nollywood to a businessman who needed to unload thousands of blank tapes and to the 1992 video release of Living in Bondage, a movie with a tale of the occult that was an instant and huge-selling success. It wasn't long before other would-be producers jumped on the bandwagon.
    Currently, some 300 producers churn out movies at an astonishing rate—somewhere between 500 and 1,000 a year. Nigerian directors adopt new technologies as soon as they become affordable. Bulky videotape cameras gave way to their digital descendents, which are now being replaced by HD cameras. Editing, music, and other post-production work is done with common computer-based systems. The films go straight to DVD and VCD disks.

    Thirty new titles are delivered to Nigerian shops and market stalls every week, where an average film sells 50,000 copies. A hit may sell several hundred thousand. Disks sell for two dollars each, making them affordable for most Nigerians and providing astounding returns for the producers.

    Nadia Buari.

    Not much else about Nollywood would make Hollywood envious. Shooting is inevitably delayed by obstacles unimaginable in California. Lagos, home to 15 million people (expected to be 24 million by 2010), is a nightmare of snarled traffic, pollution, decaying infrastructure, and frequent power outages.
    Star actors, often working on several films at once, frequently don't show up when they're supposed to. Location shooting is often delayed by local thugs, or "touts", who extort money for protection before they will allow filming to take place in their territories.

    Yet Nollywood producers are undeterred. They know they have struck a lucrative and long-neglected market - movies that offer audiences characters they can identify with in stories that relate to their everyday lives. Western action-adventures and Bollywood musicals provide little that is relevant to life in African slums and remote villages.

    Nollywood stars are native Nigerians. Nollywood settings are familiar. Nollywood plots depict situations that people understand and confront daily; romance, comedy, the occult, crooked cops, prostitution, and HIV/AIDS.
    "We are telling our own stories in our own way," director Bond Emeruwa says. "That is the appeal both for the filmmakers and for the audience."
    The appeal stretches far beyond Nigeria. Nollywood films are proving popular all over English-speaking Africa and have become a staple on M-NET, the South African based satellite television network. Nigerian stars have become household names from Ghana to Zambia and beyond. The last few years have seen the growing popularity of Nollywood films among African diaspora in both Europe and America.
    "Look out, Hollywood," one exuberant Nigerian producer exclaims. "Here we come!"


    ~ By Franco Sacchi, Robert Caputo and Aimee Corrigan from This Is Nollywood


    Sani Danja.
     
    Majid Michel.
     
    Hadiza Gabon.
     
    Rihama Hassan.

    The name Kannywood for the Hausa film industry was first coined in 1999 by publisher Sanusi Shehu Danaji three years before the New York Times used the term “Nollywood” to refer to the Nigerian film industry

    The following report mirrors the popularity of Bollywood movies and how they have boosted the emergence of Kannywood.
    For over forty years, African audiences have been watching Indian movies. In places such as northern Nigeria, generations of Hausa youth have grown up besotted with Bollywood ("Bombay/Hollywood") film culture. Over time, Indian movies have altered the style of Hausa fashions, their songs have been copied by Hausa singers and their stories have influenced the writings of Nigerian novelists. Favorite stars are given Hausa nicknames, like Sarkin Karfi (King of Strength) for Dharmendra, Dan Daba Mai Lasin (Hooligan With a License) for Sanjay Dutt, or Mace (Woman) for Rishi Kapoor. To this date, stickers of Indian films and stars decorate the taxis and buses of northern Nigeria, while posters of Indian films adorn the walls of tailor shops and mechanics' garages.


    Nafisa Abdullahi.

    Lebanese distributors began importing Indian movies in the 1950s, though; Hausa viewers have recognized the strong visual, social and even political similarities between the two cultures. By the early 1960s, when television was first introduced, Hausa fans were already demanding (over British objections) that Indian movies be shown on TV. Hausa fans of Indian movies argue that Indian culture is "just like" Hausa culture. Instead of focusing on the differences between the two societies, when they watch Indian movies what they see are similarities, especially when compared with American or English movies. Men in Indian films, for instance, are often dressed in long kaftans, similar to the Hausa “dogon riga”, over which they wear long waistcoats, much like the Hausa “palmaran”. The wearing of turbans; the presence of animals in markets; porters carrying large bundles on their heads, chewing sugar cane; youths riding Bajaj motor scooters; wedding celebrations and so on: in these and a thousand other ways the visual subjects of Indian movies reflect back to Hausa viewers aspects of everyday life.
     
    In a strict Muslim culture that still practices a form of purdah, Indian movies are praised because (until recently) they showed "respect" toward women. The problem with Hollywood movies, many of my friends complained, is that they have "no shame." 
    In Indian movies, they said, women are modestly dressed, men and women rarely kiss, and you never see women naked. Because of this, Indian movies are said to "have culture" in a way that Hollywood films seem to lack. The fact is that Indian films fit in with Hausa society. This is realized by Lebanese film distributors, and Indian video importers as well as Hausa fans. Major themes of Hindi films, such as the tension between arranged and love marriages, do not appear in Hollywood movies but are agonizing problems for Nigerian and Indian youth.

    After Maine Pyar Kiya was released one friend told me it was his favorite movie: "I liked the film" he said, "because it taught me about the world." When the star Salman Khan had to choose between an arranged marriage with someone he didn't love and running away from his family to follow the woman of his heart my friend said, "I shed tears, tears. Even though I know the film is fiction I still shed tears, because it was about what is happening in the world." Hollywood films, he said contemptuously, have no shame or they are just action, "they don't base themselves on the problems of the people."
     
    The themes of Indian movies are often based on the reality of a developing country emerging from years of colonialism. The style of the movies and plots deal with the problem of how to modernize while preserving traditional values - not usually a narrative theme in a Jean-Claude Van Damme or Steven Spielberg movie. Characters choose between wearing Indian or Western-style clothes; following religious or secular values; living with the masses or in rich, western style bungalows. Women often decide whether they should speak shyly to their lover or stand up, look him in the face and declare their love forcefully. Male stars are often presented with the choice between a "traditional" lover, who respects family and dresses modestly, and a modern woman who lives a rich, fast, life hanging around discos and hotels. The use of English by arrogant upper-class characters or by imperious bureaucrats; and even the endemic corruption of police and state officials, all present familiar situations for post-colonial Indian and African viewers.

     Indian movies have been an accepted, admired part of Hausa popular culture compared favorably with the negative effects of Western media. Indian movies offered an alternative style of fashion and romance that Hausa youth could follow without the ideological baggage of "becoming western". But as the style of Bollywood has begun to change over the last few years, this acceptance is becoming more questioned. Contemporary films are more sexually explicit and violent. Nigerian viewers comment on this when they compare older Indian films of the 1950s and 1960s that "had" culture to newer ones which are more westernized. One friend complained about this saying that "when I was young, the Indian films we used to see were based on their tradition. But now Indian films are just like American films. They go to discos, make gangs, they'll do anything in a hotel and they play rough in romantic scenes where before you could never see things like that."

    The irony is that this shift in the style of Indian films also mirrors the transformations in contemporary Nigerian society. Post-oil boom Nigeria has exacerbated a sense that traditional Hausa values are eroding, that women are becoming sexually freer, that men are more likely to rebel against their parents' authority. Hausa fans have seen these changes in Indian films. While they preserve the sense that Indian culture is "just like" Hausa culture, there is a mounting argument that current Indian movies are spoiling the values of Hausa youth. This argument hasn't affected the massive popularity of Bollywood, but it is a new, conservative critique whose impact remains to be seen.


    The international success of Indian film subverts the constant mantra of the cultural dictatorship of Hollywood movies. While the success of Bollywood doesn't alter the fact of America's media supremacy, it does focus attention to the many parts of the world where Bollywood reigns supreme. When I left the Marhaba cinema after seeing Mother India, I bumped into a friend who asked me where I'd been. I told him and asked him if he knew when the movie was made. "No," he said, "I couldn't tell you. But as soon as I knew film, I knew Mother India." From Nigeria to Egypt to Senegal to Russia, generations of non-Indian fans who have grown up with Bollywood, bear witness to the cross-cultural appeal of Indian movies.

    ~ FromKannywood, the growth of a Nigerian language industry – Carmen McCain, http://hausafilms.tv/custom/nigerianstalk_perspectives_carmen.htm and "Bollywood in Africa — Is it getting too Western?"
    http://www.salon.com/2007/06/13/bollywood_in_africa/


    © NIGERIANS REPORT ONLINE. INTERNATIONAL DIGITAL POST NETWORK LIMITED. 2013.-2014. ALL RIGHTS RESERVED. NO PART OF THIS CONTENT CAN BE DUPLICATED OR REPRODUCED IN ANY FORMAT OF MEDIA AND ANYWHERE WITHOUT THE AUTHORIZATION AND PERMISSION OF INTERNATIONAL DIGITAL POST NETWORK LIMITED.


     
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    Wednesday, December 4, 2013

    Nollywood Star Tricia Esiegbe Tackles Child Sex Abuse with The Psychologist

     Tricia Esiegbe Kerry. 


    Nollywood Star Tricia Esiegbe Tackles Child Sex Abuse with The Psychologist

    ~ By Husseini Shaibu


    Having made name as an actress and show host of the popular television magazine programme Bold Faces, popular Nollywood actress Tricia Esiegbe Kerry has stepped out and this time her interest is in helping to prevent the further spread of the crimes of child sexual abuse. 

    Tricia called from London to say that her foundation, Boldfaces International is set to enlighten the populace about pedophiles. To achieve this, Tricia who made a name as the lead actor of the successful home video Samadora disclosed that the Boldfaces Foundation has introduced a public awareness programme on child abuse called "The Psychologist". According to her, the programme aims at ‘’preventing the sexual abuse of children and to encourage victims of child sexual abuse to come out and tell their stories via our television talk-show programme. 
    Tricia said:  “ we intend to use the platform of ‘The Psychologist’’ to address child sexual molestation in our society, to expose sexual predators and create a support platform for victims of child molestation, and to get the authorities to do more to support our children’’. 

    Scheduled to go on air soon, ‘The Psychologist’ is designed as a 30 minutes television talk show programme and it will feature a special segment called Brave Seat of Change which will week in, week out feature real life stories of people that have experienced child molestation whilst growing up.  As Tricia further explained: ‘’we have identified, refined and produced an effective television programme that will help mobilize adults, families and communities to take actions towards protecting children before they are harmed. Our stories are real life heart breaking stories of people that have experienced child sexual molestation while growing up.  We have a team of researchers that source for true-life stories on Child Sexual Abuse and Molestation. The programme is reconstructed by actors who play out these true-life stories’’. 

    However Tricia said Boldfaces International Foundation would not be doing this all alone. She disclosed partnership with several institutions including the Nigerian Police. Presently managed by Tricia & Kingsley Kerry and specialist consultants drawn from various fields of expertise. Boldfaces International Foundation was established a few years back to advocate for the sexually abused children and victims, and provide evidence-based information to policymakers, media and advocacy groups. The foundation provide consulting and training services to professionals, organizations, coalitions, and community-based programs on strategies, policies and practices for preventing child sexual abuse. And as part of strategic partnerships, the foundation consults on long term with groups that are adapting key elements of our adult-responsibility. 

    ‘’We intend to provide books for individuals, families and communities on how to prevent child sexual abuse before children are harmed - and to get help for everyone involved’’ Tricia surmised.




     
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