Like Prophet Muhammad, like Boko Haram: The Abduction of Over 200 School Girls in Nigeria

 Boko Haram's leader and his soldiers.

Like Prophet Muhammad, like Boko Haram: The Abduction of Over 200 School Girls

No true believer and follower of the founder of Islam, Prophet Muhammad will oppose the Congregation of the People of Tradition for Proselytism and Jihad (Arabic: جماعة اهل السنة للدعوة والجهاد‎ Jamāʻat Ahl as-Sunnah lid-daʻwa wal-Jihād) Boko Haram Islamic terrorist sect in Nigeria who have attacked and murdered thousands of people in the northern regions and also abducting and raping both women and girls, including the widows and daughters of the men they killed in their guerrilla attacks on villages, schools, churches and their fellow Muslims who opposed their terrorism.

In the last 30 days, they have killed more than 200 people in their terrorist bomb attacks at the Nyanya bus garage in Abuja capital city of Nigeria on April 14 and also yesterday on May Day at another motor park opposite their first target. And they have been raping the over 234 secondary school girls they abducted at midnight from their hostel at the Government Girls Secondary School in Chibok, Borno State. They forced them into Islamic marriage with their abductors and many of these girls would have become pregnant now.


What the Boko Haram is doing is nothing new and actually what Prophet Muhammad did in his jihads as recorded in history and the following is an account that confirms it all by Ali Sina in the true tragic story of one of the captives of the prophet.

Safiyah, the Jewish Wife of Muhammad

By Ali Sina

The following is the story of Safiyah Bint Huyeiy Ibn Akhtab, the Jewish woman who was captured when Muhammad’s troops attacked Kheibar and brought her to the Prophet as part of his share of the booty. Muhammad ordered Kinana, the young husband of Safia to be tortured to death to make him reveal the whereabouts of the treasure of the town. On the very night of that murder, he took Safia to his bed and claimed that young girl as his trophy. This story is reported by Tabari in detail. It can also be found in Sira of Ibn Ishaq. The following is reported in the Book of Tabaqat compiled by Ibn Sa'd and is published in the Islamic site. http://www.muslimunited.org/topics/prophet/wives.html Two years earlier, Muhammad had beheaded Huyeiy, the father of Safia along with 900 men of Bani Quraiza.

Safiyah was seventeen and very beautiful when Muslims killed her father, husband and many of her relatives. In the same day the Prophet of Allah wanted to sleep with her. Here is the exact text of the story.

“Safiyah was born in Medinah. She belonged to the Jewish tribe of Banu 'I-Nadir. When this tribe was expelled from Medinah in the year 4 A.H, Huyaiy was one of those who settled in the fertile colony of Khaibar together with Kinana ibn al-Rabi' to whom Safiyah was married a little before the Muslims attacked Khaibar. She was then seventeen. She had formerly been the wife of Sallam ibn Mishkam, who divorced her. One mile from Khaibar. Here the Prophet married Safiyah. She was groomed and made-up for the Prophet by Umm Sulaim, the mother of Anas ibn Malik. They spent the night there. Abu Ayyub al-Ansari guarded the tent of the Prophet the whole night. When, in the early dawn, the Prophet saw Abu Ayyub strolling up and down, he asked him what he meant by this sentry-go; he replied: "I was afraid for you with this young lady. You had killed her father, her husband and many of her relatives, and till recently she was an unbeliever. I was really afraid for you on her account". The Prophet prayed for Abu Ayyub al-Ansari (Ibn Hisham, p. 766) Safiyah had requested the Prophet to wait till he had gone a stage away from Khaibar. "Why?" asked the Prophet. "I was afraid for you on account of the Jews who still happened to be near at Khaibar!"

The reason Safiyah rejected the intimate advances of the 57-year-old Muhammad should be obvious to any objective person. I believe most women prefer to mourn than jump into bed with the killer of their father, husband and many relatives on the same day of their death. But the fact that the prophet of Allah could not contain his intimate urges for one day to let this young girl grieve, says a lot of his thinking and moral character. However as for the rest of the story we are not sure whether it is true or was fabricated by Muslim historians to wipe the impression of molest. But this is all we have and to find the truth we have to rely on these biased documents written by Muslim historians. The story goes on to say that Abu Ayyub was concerned for the safety of the prophet because he (Muhammad) had killed Safiyah's father, husband and many of her relatives. This is logical. It is foolish to sleep with a woman after killing her loved ones. But Safiyah’s excuse for rejecting Muhammad’s advances towards her seems unreasonable. When Muhammad took this young girl into his tent, he had already killed many Jews and was winning the war. If there were any Jews left, they probably were more worried for their own lives than Safiyah’s chastity. Also she was already in the tent alone with Muhammad, how the Jews would have known if they were engaged in sex or not? I wonder what other excuse could she make to a man who was the murderer of her father, husband and many of her relatives to let her alone at least that night?

“The next day a Walima (we dding-feast) was arranged on behalf of the Prophet…

Note that the historian is saying that the wedding took place one day after the prophet got private with Safiyah and made his moves to have sex with her. This presented no problem for the prophet as he had his Allah reveal a verse saying it is okay to sleep with women captured in war without marrying them even if they are married.

“And all married women (are forbidden unto you) save those (captives) whom your right hands possess…” (Q. 4:24 )

The above verse shows that the Holy prophet did not believe that slaves have any right. You could be a happily married woman living your own life, but if Muhammad and his devout followers attacked your town and captured you, you would lose all your rights, and while your husband was being killed or enslaved you would be given to a Muslim Mujahid who would molest you all with Allah’s blessings.

This is confirmed in another place.

(Q. 23: 1-7) 

 http://www.faithfreedom.org/Articles/sina/safiyah.htm

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The CNN Multichoice African Journalist Competition 2014 Now Open

 Dear journalist,

We are delighted to announce that the CNN MultiChoice African Journalist Competition is now OPEN for entries.

It’s now even easier to enter as this year ALL submissions* can be made via the entry form website (http://www.cnnmcaja.cnn.com).

To find out more about this year’s categories and for full details on how to enter, please visit the Awards’ website: http://www.cnn.com/africanawards/submit.html.

Closing date for entries is May 30th. As the entry website is open for a limited period only be sure to submit your entry now and be part of the most prestigious journalist awards on the continent.

Kind regards and good luck,

CNN MultiChoice African Journalist Team


* Print & photographic entries submit PDF of stories; Digital entrants will include the relevant web links; Video entrants will include links to YouTube; Radio entrants links to SoundCloud.


Remember to follow us on:
facebook.com/CNNMultichoiceAfricanJournalistOfTheYearAwards
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From Chineze Anyaene's "Ijé - The Journey" To Biyi Bandele's "Half Of A Yellow Sun"

 From Chineze Anyaene's Ijé - The Journey To Biyi Bandele's Half Of A Yellow Sun

Chineze Anyaene's 2010 "Ijé - The Journey" cost $2.5 million and even though the film is still the highest grossing Nigerian film till date, both the returns from the local distributors in Nigeria and others abroad have not been enough to make the director smile to the bank, because the critically acclaimed and multiple award winning student film was not really a financial success.

The much talked about 2013 "Half of A Yellow Sun" by Biyi Bandele is the most expensive and expected Nigerian film, because of the international cast of celebrated Hollywood stars and the prominent local stars even though the most popular Nollywood star in the cast Genevieve Nnaji only appeared in one scene and her cameo is not spectacular enough to attract her legions of fans to the local movie theaters or to even buy copies of the DVD later like "Ijé" that gave her an unforgettable supporting actress role as "Chioma Opara" sister of "Anya Opara Michino" played by the leading actress and current Queen of Nollywood, Omotola Jolade-Ekeinde who gave a stellar performance and the fantastic combination of these two most popular actresses in Nollywood pulled crowds to the cinemas. But I doubt if the celebrated Hollywood stars Chiwetel Ejiofor and Thandie Newton can do the same for "Half of A Yellow Sun" in Nigeria where only the middle class and upper class elites know their A-list star power status.

The director, producers and executive producers pinned all their hopes on them, but they forgot that using A-List actors do not always guarantee box office success as we have seen in many Hollywood big budget movies that bombed (flopped) at the box office.
Getting A-List actors cost a lot and betting on them to make a hit movie is a gamble. A hit or miss shot at the bull's eye.
Having A-List actors may attract major distributors for the film, but cannot guarantee puling crowds to the cinemas and that was what happened to "Mandela: Long Walk to Freedom" by Justin Chadwick. The film with famous Hollywood stars Idris Elba as "Nelson Mandela", Naomie Harris as "Winnie Madikizela-Mandela" cost $35 million, but has not made up to $28 million at the box office, even though it was a hit in South Africa released at the momentous time when the great hero of the biopic Madiba Nelson Mandela passed away.

The local distributors of "Half of A Yellow Sun" in Nigeria have dysfunctional marketing and public relations management and you cannot even see any promo on "Half of A Yellow Sun" on the websites of their few cinemas and I am yet to see the adverts in the press, except for the cheap radio jingles and the poorly promoted trailers on TV. So, Biyi Bandele and his executive producers need prayers for miracles to make their "Half of A Yellow Sun" a commercial success at home and abroad.


~ By Ekenyerengozi Michael Chima, Publisher/Editor of Nigerians Report Online and Nigerian Times, the highest ranked Nigerian blog on film and entertainment in the world.
https://plus.google.com/+MichaelChimaEkenyerengozi/posts.

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Here’s How Google’s Self-driving Cars Avoid Hitting Pedestrians

The car’s software can recognize biker hand signals and predict cyclist movement between lanes.

Here are all of the inputs (pedestrians, cars, cyclists) the car analyzes before making a simple right turn at an intersection.
See more on http://www.buzzfeed.com/charliewarzel/new-footage-shows-how-googles-self-driving-cars-handle-real

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UN Celebrates Movies, Filmmaking on World Intellectual Property Day

NEW YORK, 26 April 2014 / PRNewswire Africa / - Film tastes are as varied as the people around the world watching them, and as cinematic excellence sprouts up in dozens of countries, the United Nations and the global intellectual property (IP) system are helping to keep the reels rolling by supporting filmmaking through this year's theme for World Intellectual Property Day --"Movies -- A Global Passion."

"Movies have always attracted global audiences…from the very first silent movies," said General Francis Gurry, Director of the UN World Intellectual Property Organization (WIPO) in a message for World IP Day 2014.

"We have witnessed the growth not only of global audiences, but also of global production," pointed out Mr. Gurry, noting that while Hollywood was once the dominant player, film industries around the world now flourish.

"Be it Bollywood in India, Nollywood in Nigeria, or in Scandinavia, North Africa, China or other parts of Asia -- movies really are a global passion," Mr. Gurry evinced.

To mark the Day, WIPO is helping to facilitate events in dozens of countries. Via the IP Day Facebook page, movie lovers around the world can learn about the history of film, the latest trends and how intellectual property helps to promote creativity and innovation.

In a video message, the WIPO chief said movies are a direct product of intellectual property. "You start with a script, which is the intellectual property of an author or screenwriter. Then there are the actors, whose performances are their intellectual property. Then there is music, in which the composers and the performers have intellectual property," he said, adding:" IP underlies the whole film industry."

"On World IP Day this year, I invite movie lovers everywhere, when next you watch a movie, to think for a moment about all the creators and innovators who have had a part in making that movie," said Mr. Gurry in his message.

The WIPO Director also urged everyone to think about the digital challenge that the Internet presents for film.

"I believe it is the responsibility not just of policy-makers but of each of us to consider this challenge, and to ask ourselves: How can we take advantage of this extraordinary opportunity to democratize culture and to make creative works available at the click of a mouse, while, at the same time, ensuring that the creators can keep on creating, earning their living, and making the films that so enrich our lives?" Mr. Gurry asserted.
In Geneva, WIPO is screening the Swiss premiere of the Nigerian/British co-production of author Chimamanda Ngozi Adichie's "Half of a Yellow Sun," a story of Nigeria's civil war with an international cast featuring Chiwetel Ejiofor, Thandie Newton and others.

World IP Day, 26 April, was initiated in 2000 to raise public awareness on the role of IP in daily life and to celebrate the contributions of innovators and creators in the development of societies worldwide. WIPO is a specialized agency of the United Nations and the leading global forum to promote intellectual property as a force for positive change.

SOURCE UN News Centre

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Amaka Igwe, The "Mama of Nollywood" Has Paased On

Today is a sad day in Nollywood. 
Africa's largest film industry has just lost Amaka Igwe, 51, one of the greatest icons of Nigerian TV and Film. 
She passed on to eternal glory in the early hours of Tuesday, April 29, 2014. 
Reliable sources said she suffered an Asthma attack and died on the way to the nearest hospital.

Amaka Igwe to me, was the "Mama of Nollywood", because of her outstanding motherly role in leadership and mentoring many young men and young women she helped to excel and succeed as actors, producers and managers on TV and the big screen. And her name will be written in gold for her great legacy in the history of Nollywood.

Mrs. Igwe is survived by her husband Mr. Charles Igwe, their three children Ruby, David and Daniel, her mother and other members of her family and relations. 
May God grant us the fortitude to bear this great loss.
 ~ Ekenyerengozi Michael Chima, 
Publisher/Editor, Nigerians Report Online  


About Amaka Igwe, nee Isaac Ene, from Africa Movie Academy Awards (AMAA

Foremost producer, writer, director and a leading player in the Nigerian motion picture industry, Amaka Igwe may not have started shooting movies in 1992 but it is not in doubt that Amaka Igwe’s effort as a motion picture practitioner has drawn international recognition for the burgeoning Nigerian motion picture industry. Some of her early efforts like Checkmate and Violated have largely remained a watershed in the history of soaps and movie productions in Nigeria.


Born to Isaac Ene, a retired civil engineer from Obinagu-Udi in Enugu State whom Amaka described as ‘very principled’, Amaka whom her father called GOC (General Officer Commanding) because of the leadership trait she exhibited as a tot, was born and bred in Enugu. An old girl of All Saint School, now Trans Ekulu Primary School, Girls High School Awkunanaw, Enugu and Idia College in Benin City where she had her A levels, It was at Idia College that Amaka’s arts inclination fully germinated. While at Idia, Amaka recalled organizing variety shows for her house which attracted a fee paying audience. She acted and directed the plays that were staged and she also taught the group the famous atilogwu dance which became the schools official dance. She recalled leading the group to a performance at the Ogbe Stadium in Benin. One of the foremost movie directors and by far one of the few contemporary filmmakers in the professional class, it was as a class one pupil of All Saint School Enugu that the once skinny Amaka who gained some weight after her first delivery experienced a play production. It took that production written by Amaka’s sister who was in secondary school then for a creative zeal to be fired up.


Popular in her early school days as Ogwu Azu, (Igbo word for Fish bone) because of her slim built frame, Amaka wanted to study law but in the wisdom of officials of the Joint Admission and Matriculation Board (JAMB) she was offered a chance to study Education and Religious Studies at the University of Ife. From University of Ife, now Obafemi Awolowo University (OAU), Amaka who signed the MNET short celluloid film ‘Barbers Wisdom’ as director proceeded to the University of Ibadan where she grabbed a master's degree in Library and Information Services. In between, Amaka took part in a number of theatrical productions particularly as a member of the National Youth Service Corps (NYSC) drama troupe. With the NYSC troupe, Amaka took plays around Nigeria. It was when she returned to Enugu after her NYSC programme that she started learning about television. She found the massive studios of the Enugu State Broadcasting Service from where such classics like the long rested Basi and Company and the New Masquerade were produced, a good ground to learn how programmes are produced. Not only was Amaka fascinated by the sheer massiveness of the ESBS studios, her creative drive was further accelerated when she encountered on screen, the work of the inimitable female television director Lola Fani Kayode. An icon who is well regarded and who a number of practitioners consider a mentor and big auntie, Amaka disclosed that she conceived Checkmate by watching Mirror in the Sun. She had written a script about an all conquering female hero like Queen Amina and had conceived it like a traditional stage play. But when she saw Mirror in the Sun, she decided to make it a modern all conquering female heroine story.


The driving force behind BOBTV an acronym for the Best of the Best African Film and Television Programmes market and CEO of Amaka Igwe Studios an outfit that is best known for dropping off quality television and video offerings, Amaka Igwe’s vision of providing a common access point for good and authentic movies and television programmes led to her conceptualizing and eventual staging BOBTV, an annual event that has clearly facilitated the buying and selling of audio-visual content, the brokerage of production deals as well as the facilitation of world class skill transfer and training for African producers. An amiable and warm personality who is in love with African prints, Amaka who has received numerous industry awards including that of life time achievement from the organisers of the annual African Movie Academy Awards (AMAA) has her creative pouch filled with works that have been rated as best seller.s. Amaka who has penned scripts for some notable producers and production outfits is married to Charles Igwe who is not only in charge of the business angle of what is liberally called Showbiz but he has brought his experience to bear as a banker in the management of the resources of the families well regarded production company.


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Geneith Pharmaceuticals and Oshodi Local Government Promote Sanitation for World Malaria Day

As part of its corporate social responsibility activities, Geneith Pharmaceuticals partnered with the Oshodi Local Government Area to clean the parks and markets in Oshodi on Thursday April 24, 2014. The event was used to mark the World Malaria Day on Friday April 25.

The company believes that a clean and healthy environment will help to checkmate the menace of malaria attacks in Nigeria.


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The First Nigerian Movie Stars in "Palaver" and "Sanders of the River"

"Palaver" was one of the first films shot in Nigeria in the first quarter of the 20th century when the country was a colony of the British Empire. It was the first feature film that gave speaking roles to the natives and in fact they got good reviews for their natural acting skills. And they were the first Nigerian movie stars who should be recognized as we celebrate the Nigeria Centenary of 1914-2014. They may no longer be here with us since they have passed on decades ago, but "Palaver" is their legacy and an important part in the heritage of the history of Nigeria.

The living survivors and successors of their lineage should be proud of them.
They and Orlando Martins (1899–1985) who acted in "Sanders of the River" the 1935 British film directed by Hungarian-British director, Zoltán Korda should not be forgotten.
As we sing in our national anthem:  
The labour of our heroes past 
Shall never be in vain.

To remember these first stars of Nigerian cinema, we are bringing "Palaver" to the big screen after 88 years with a public screening on the Lagos Island before the end of the year. So that we can see these stars as they were seen at the cinemas in 1926 and captivated their audiences in the British Empire. 

The two principle supporting actors, the tribal King, Dawiya (Yiberr), and the witchdoctor, Yilkuba - whose contribution was lauded in contemporary reviews as "the most amazing performances in the film" (Bioscope 1926). ~Ann Ogidi

~ By Ekenyerengozi Michael Chima, Founder/President of Zenith International Film Festival (ZIFF), CEO, Screen Outdoor Open Air Cinema (SOOAC), Founder/Executive Director, Screen Naija One Village, One Cinema Project.

 Directed by Geoffrey Barkas (born Geoffrey de Gruchy Barkas, 27 August 1896 – 3 September 1979), an English film maker active between the world wars. Barkas led the British Middle East Command Camouflage Directorate in the Second World War. His largest "film set" was Operation Bertram, the army-scale deception for the battle of El Alamein in October 1942. He won an Oscar for Best Live Action Short Film in 1936 for his "Wings Over Everest".  

PALAVER: A ROMANCE OF NORTHERN NIGERIA  
Technical Data  
Year: 1926  
Running Time: 108 minutes  
Film Gauge (Format): 35mm Film  
Colour: Black/White  
Sound: Silent  
Footage: 7329 ft  
Production Credits Production Countries: Great Britain  
Director BARKAS, Geoffrey  
Producer BARKAS, Geoffrey  
Script BARKAS, Geoffrey  

Synopsis
Filmed amongst the Sura and Angas people of the Bauchi Plateau in Northern Nigeria, where the rivalry between a British District Officer and a tin miner leads to war.
The film introduces the main protagonists. Yilkuba, the witch doctor of the Sura tribe, warns his king, Dawiya, to 'beware of war', while Mark Fernandez, a tin miner, receives a letter warning him that he will be replaced if his work does not improve. Meanwhile, the car belonging to nursing sister Jean Stuart breaks down and she spends the night in the hut of Captain Peter Allison, the District Officer.


The next morning Fernandez visits Allison and finds Jean there in her pyjamas. Fernandez is next seen bribing Dawiya with alcohol('medicine') in order to get more men working in his mine, and then appears drunk at 'the social event of the year' at Vedni. Here he attempts unsuccessfully to dance with Jean and 'cut out' Allison. Allison, in his role as District Officer, subsequently 'holds court' and hears complaints against Dawiya. He visits Dawiya and discovers him drunk on 'unlawful liquor'. Allison suspects Fernandez, and on visiting him discovers the same type of liquor in his house. A drunk Fernandez visits his tin mine and strikes one of his workers. He then pays 'the penalty of excess' and collapses. During his illness, he is nursed by Jean, who pleads with him to take control of his life.


Meanwhile, Allison receives a letter revealing that Fernandez was deported in 1920, but has since changed his name. Jean asks Allison to help Fernandez, but Allison - aware of Fernandez's past - refuses. The two men fight and Fernandez with his hopes and plans shattered, 'plays his last card'. He convinces Dawiya that Allison is planning to arrest him. The misled Dawiya prepares for war - 'with strong liquor' - and Allison almost single-handedly holds off the attacking 'pagans'. After much fighting, Allison is wounded but victorious. Dawiya goes to Fernandez's house, kills him, and is then caught by Allison. The film ends with Allison sitting with Jean and asking her to marry him. They embrace in the final shot.


Context Throughout August 1926, Bioscope ran a series of editorials and articles assessing the state of the British film industry and emphasizing the importance of presenting British films throughout the Empire.


The Prime Minister Stanley Baldwin had called for action in 1925 after noting the ‘danger to which we in this country and our Empire subject ourselves if we allow that method of propaganda [film] to be entirely in the hands of foreign countries’ (Royal Society of Arts, Journal, June 3 1927, 685).In August 1926 Sir Phillip Cunliffe-Lister, President of the Board of Trade, proposed in the House of Commons that ‘the whole question [of British films] should be discussed at the Imperial Conference’, after the Joint Trade Committee failed ‘to to find a solution to the British film problem’ (Bioscope, 5 August 1926).


On 5 August 1926 beneath an article entitled ‘British Industry in Hopeless Position’, there was a further article announcing ‘Three British Films in Three Days’. E. Gordon Craig, the managing director of New Era Films described this as ‘an epoch in the resuscitation of British production’ as the company announced that Nelson, Palaver, and Mons would be trade-shown on consecutive days in September. ‘Three British pictures in one week – three pictures which will convey the best of British ideals and sentiments’, wrote Bioscope (Bioscope, 5 August 1926, 19). The Times similarly discussed the release of Palaver within an article that began ‘the attempt to find an agreed scheme for the rehabilitation of the British film industry has failed’, as the press presented Palaver as part of a broader attempt to rehabilitate the British film industry (The Times, 31 August 1926, 10).


In its review of Palaver, Bioscope stated that ‘it is a welcome sight to see the Union Jack in a film of this type’, further noting that ‘the narrative is inspiring, showing, as it does, the heroic work of those young Englishmen, who seek danger and hardship in the outposts of the Empire’ (Bioscope, 23 September 1926, 37).

The film’s press book further promoted the ‘heroic’ work of the British within Nigeria – ‘of this colonizing genius and skill in the handling of native races Nigeria is a shining example’ – and attempted to validate historically the actions within the film. ‘Here, as elsewhere’, the publicity stated, ‘men of our race have plunged into the Unknown, and set themselves to transform chaos into order and security. Battling against slavery, human sacrifice and cannibalism, against torture and devil worship, against famine and disease, they have worked steadily on, winning the land for the natives under the Imperial Crown’ (‘Palaver Pressbook’). Such writing characterised the publicity reports on the film.


When the film – advertised as ‘a marvellous story of Empire conquest in Northern Nigeria’ – played at the Stoll Picture Theatre for three nights at the end of April 1927, the programme stated that ‘Northern Nigeria is not a nice country to have to colonise’ as ‘slavery, human sacrifice, cannibalism – particularly devil worship – have been the chief obstacles, but gradually chaos has yielded to order’ (Stoll Herald, 24 April, 1927, 5). Palaver was produced by Geoffrey Barkas and photographed by Stanley Rodwell.
The pair had previously worked together filming the Prince of Wales’ Tour of Africa in 1925 and, when working on Palaver during the following year, secured local assistance through the Nigerian government, who helped in providing transport and in ‘obtaining suitable pictures of native life’ (CO 323/985/23).  Barkas, who would subsequently film material in Africa for Rhodes of Africa (1936) and King Solomon’s Mines (1937), wrote a two-part account of his experiences producing Palaver in Bioscope. He initially outlined the personnel involved in the six-month production, beginning with himself (‘running the show. Selecting my native cast from cannibal pagan tribes. Finally producing the film’) and including his ‘assistant’, and soon to be wife, Natalie Webb. Barkas explained his methods of story writing – ‘I made a point of meeting as many actual District Officers as possible’ – of finding suitable locations and in particular of casting. Barkas stated that ‘it was a laborious business for the whole thing [filming] was entirely outside their [the locals] comprehension’. He suggested that the locals were particularly reticent when gun shots were fired and noted ‘the possible danger of so many raw savages entering into the spirit of the thing [attacking the District Officer within the film] with too much abandon’ (Bioscope, 5 August 1926, 22). The language he uses – he quotes one local as saying ’”Master, you are wise and powerful. You are our father and mother. We believe everything you say”’ – largely echoes the rhetoric within the film and he concludes by commenting on the ‘blind savagery from which they [the Africans] are so slowly emerging’ (Bioscope, 12 August, 1926, 20).


Palaver played at the Marble Arch Pavilion in March 1927, and a letter from a member of the Crown Agents to the Under-Secretary of State for the Colonies in July 1927 stated that Palaver, ‘as far as is known, is being booked extensively by the cinema theatres’. The letter suggested, in light of the commercial failure of the short instructional documentaries within British Instructional’s Empire Series, that Palaver ‘would appear to be the type of film which is most likely to appeal to cinema audiences in this country’ (CO 323/985.323). However, the film was not a great commercial success, although it did enjoy a life beyond its initial release. For example, it played for a week at the Imperial Institute in January 1930 as part of a free programme of films provided by the Empire Marketing Board (The Times, 14 December 1929, 8).  

Works Cited
‘Look to the Imperial Conference’, Bioscope, 5 August 1926, 2.
‘Three British Films in Three Days’, Bioscope, 5 August 1926, 19.
‘The Joys of Filming in West Africa’, Bioscope, 5 August 1926, 22.
‘The Joys of Filming in West Africa (Part II)’, Bioscope, 12 August, 1926, 20.
‘Three Big British Productions’, Bioscope, 9 September 1926, 23.
‘Palaver’, Bioscope, 23 September 1926, 37-38. Holbrook, Arthur R.,
Colonel Sir, KBE, MP, ‘British Films’,
Royal Society of Arts Journal, 3 June 1927, 684-709.
‘Letter from the Crown Agents to the Under Secretary of State, Colonial Office’, dated 11 July 1927, accessed at National Archives, CO 323/985/23.
‘Palaver Pressbook’ available at the BFI. ‘Palaver’, Stoll Herald, 24 April 1927, 5. ‘
The Film World: Many New British Pictures’, The Times, 31 August 1926, 10.
‘Palaver’, The Times, 8 March 1927, 14.
‘Films at the Imperial Institute’, The Times, 14 December 1929, 8.

COPYRIGHT: Colonial Film Office of the Royal British Empire..

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Omidyar Network's Ory Okolloh Makes TIME's100 Most Influential People in the World

 

Omidyar Network's Ory Okolloh Named To The TIME 100, TIME's Annual List Of The 100 Most Influential People In The World  

REDWOOD CITY, Calif. and JOHANNESBURG, April 24, 2014 /PRNewswire/ -- TIME named Omidyar Network's Ory Okolloh to the 2014 TIME 100, its annual list of the 100 most influential people in the world. The full list and related tributes appear in the May 5 issue of TIME, available on newsstands and tablets on Friday, April 25, and now at time.com/time100.

The list, now in its 11th year, recognizes the activism, innovation and achievement of the world's most influential individuals.  As TIME has described the list in the past, "The TIME 100 is not a list of the most powerful people in the world, it's not a list of the smartest people in the world, it's a list of the most influential people in the world. They're scientists, they're thinkers, they're philosophers, they're leaders, they're icons, they're artists, they're visionaries.  People who are using their ideas, their visions, their actions to transform the world and have an effect on a multitude of people."

"I am honored by the distinction, and I believe it to be a reflection of the importance of the issues and challenges I and countless others are tackling on the continent and globally," said Okolloh, director, investments, Omidyar Network.

Based in Johannesburg, Okolloh leads Omidyar Network's Government Transparency work in Africa and invests in innovative organizations that use technology and media platforms to provide access to information and tools necessary to increase government responsiveness and citizen participation. Over the last five years, the firm has invested more than $80M to government transparency efforts across the globe, including organizations in Africa such as: Ushahidi, Africa Check, Livity South Africa, Africa Media Initiative, Praekelt Foundation, FrontlineSMS, the Co-Creation Hub, Infonet, Sahara Reporters, Enough is Enough Nigeria, The XYZ Show, and the Africa Transparency and Technology Initiative.

Follow @TIME for updates about the list on Twitter (#TIME100) and at Facebook.com/TIME. Okolloh may be followed on Twitter at @kenyanpundit, and Omidyar Network at @omidyarnetwork (#PositiveReturns).

ABOUT OMIDYAR NETWORKOmidyar Network is a philanthropic investment firm dedicated to harnessing the power of markets to create opportunity for people to improve their lives. Established in 2004 by eBay founder Pierre Omidyar and his wife Pam, the organization invests in and helps scale innovative organizations to catalyze economic and social change. Omidyar Network has committed more than $688 million to for-profit companies and non-profit organizations that foster economic advancement and encourage individual participation across multiple initiatives, including Consumer Internet & Mobile, Education, Financial Inclusion, Government Transparency, and Property Rights. To learn more, visit www.omidyar.com.

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Tackling Malaria Menace With Camosunate

Tackling Malaria Menace With Camosunate 

By Pharm. Emeka Nwachukwu

As World Malaria Day is marked, the disease remains a major threat to health in countries prone to it. Malaria also appears to be the most dreaded disease in third world countries, yet though not many know it, the disease, as simple as it sounds, and as common as its symptoms are, is a giant killer, especially among third world rural dwellers. Expectant mothers and infants are the two most Malaria preys. Infant mortality rate traceable to Malaria was probably music to the ears of residents of Ogudu area of Lagos months ago until a young nursing mother painfully lost her four weeks old baby girl to the disease.

For the grief-stricken young lady, the sting of Malaria was just two painful to bear. She could not just fathom why “ordinary” Malaria which she and members of her family had always treated with Agbo, a local herb concoction and in some cases, Alabukun and a local Gin, should claim the life of her precious little first child.

The unfortunate incident narrated above brings to the fore the misconception spiced with ignorance a broad spectrum of people; especially in developing countries have about Malaria. They are not simply aware that Malaria is deadlier and kills faster that HIV/AIDS, Tuberculosis; renal failure among other popular life threatening diseases, yet the disease (Malaria) is easier and cheaper to treat.

Malaria facts are alarming. That it is no respecter of gender and age is one. Another is that it is responsible for high infant mortality in Africa. According to the  World Health Organization (WHO) estimates, there are about 219 million cases of Malaria in 2010 and estimated 660,000 deaths. WHO says that “most Malaria deaths occur among children living in Africa where a child dies every minute from Malaria”.

Country-level burden estimates available for 2010 indicate that an estimated 80 percent of Malaria deaths occur in just 14 countries and about 80 percent of cases occur in 17 countries. It has been established that together, the Democratic Republic of the Congo and Nigeria account for over 40 percent of the estimated total of Malaria cases globally.

According to D. D. Uyagu and A. E. Omoigberale of the Department of Family Medicine, and Department of Child Health, respectively of University of Benin Teaching Hospital UBTH, in Nigeria nearly 10 million clinical cases of Malaria are diagnosed per year. This translates to about 50 percent of the adult population experiencing at least one Malaria episode per year, while young children can have up to two to four attacks of Malaria annually.

The dons conclude that Malaria is a major health problem in Nigeria. In a clime where healthcare is far spread and sometimes non-existence, remedy is most times a distant dream. Self medication, occasioned by poverty among low income earners is equally an ally of Malaria-related deaths. For millions of Malaria sufferers in Nigeria, a trip to a local “chemist shop” for a “mixture” of mélange of tablets is all that is required for treatment. This explains why Malaria kills more than dreaded diseases. According to Uyagu and Omoigberale, Malaria accounts for 25 percent of under-five mortality, 30 percent of childhood mortality and 11 percent of maternal mortality. In Nigeria, 70 percent of pregnant women suffer from Malaria each year, and it causes anemia in pregnancy, abortion, still birth and low birth weight infants.

Essentially 50 – 60 percent of out-patient consultations and 10 – 30 percent of overall hospital admissions in Nigeria are due to Malaria. In addition to the direct health impact on the populace, economic loss linked to Malaria in Nigeria is huge.

Lack of access to healthcare, and ignorance, apart from forcing many Malaria sufferers in Nigeria to resort to self-help, has also led many to erroneously attribute deaths arising from untreated Malaria to all sorts of superstition. Indeed, a large segment of the population is still not aware that a specie of mosquito called Anopheles transmits the disease through bite. Malaria caused by Plasmodium parasites and the parasites are spread to victims through the bite of infected Anopheles mosquitoes.

Time was when Chloroquine was the combat drug for Malaria. But the growing resistance of Malaria to the drug led experts to come up with the ACT combination therapy. With the staggering estimate of Nigerians who fall prey to Malaria yearly, Nigeria is no doubt a huge market for ACT brands of Malaria drugs. The country’s Pharmaceutical stores and even local “chemist shops” are bourgeoning with a plethora of such drugs. Experts are of the view that Camosunate is not only one of the ACT drugs in the market but also one of the most efficacious.

Camosunate is a combination of Artesunate and Amodiaquine. Essentially ,Camosunate is of the four forms of ACT recommended by WHO. This by the virtue of its Artesunate and Amodiaquine(AS + AQ) content. In a recent study on Malaria treatment using the ACT, Uyagu and Omoigberale picked Camosunate as an instrument of study. Their words: “One of the Artesunate plus Amodiaquine brands in the country is Camosunate by Geneith Pharmaceutical Limited. This study is a clinical study of the efficacy and safety of Camosunate in the treatment of uncomplicated Malaria”.

WHO advises that Artesunate is the drug of choice for severe Malaria both in children and adults. The world health body recommends that in areas of high transmission such as Nigeria, Artesunate must be combined with Amodiaquine and administered on sufferers. The combination of Artesunate and Amodiaquine is known with various names, including Camosunate. Marketed in Nigeria by Geneith Pharmaceutical Nigeria Limited, Camosunate combats Malaria scourge headlong. The efficacy of Camosunate in treatment of Malaria earned the drug effusive praises from the Institute of Government Research and Leadership Technology (IGRLT) in 2012 when the Institute named it “The Best Malaria Management Drug”.

The brand which is one of the flagship brands of Geneith Pharmaceutical was recognized by the IGRL as the best drug in its category because of many positive indications such as product quality, value creation and efficacy, international standard compliance with regulatory law, patient compliance, track records and ethical standard associated with it.

As the World Malaria Day is marked, Geneith Pharmaceutical believes that the world is capable of defeating the Malaria menace if the right medication and drugs are applied. Camosunate comes in adult and children formulae. Children Camosunate has the unique qualities of being the first innovative pediatrics formulation introduced for the first time in Nigeria, in granular sachets. The concepts behind this technology are to produce children’s anti-malaria drugs in sachets such that parents who treat Malaria do not need to measure doses of drugs with spoons. Stability is thus ensured.

Geneith boss, Emmanuel Umenwa is optimistic that with Camosunate which is endorsed by NAFDAC, sufferers of Malaria in Nigeria now have a credible but efficacious alternative in the battle against the disease.

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Pharm Nwachukwu is AGM (sales) Geneith  pharm ltd.

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