Why do you want to bring Buster Ryhmes to Nigeria?

It is a fact that when Buster Rymes performed in Lagos the other time, his performance was outstanding. I can confirm to you that there was no dull moment. He is somebody with so many hits. Everybody was asking for more. Actually we had it in mind to work with Akon, but we realised that Akon will suit a place like Bayelsa, but that is not now. There is a difference between Buster Rymes and Akon. Buster Rymes will be able to communicate better at this show. We went on a tour in East Africa and people were asking us to tell them about the situation in the Niger Delta. They always ask us what we are doing about the problems in the Niger Delta. It is really disturbing. It is not like what you people see on TV. Out there, they believe that once any white person arrives at the airport, kidnappers will pick him up.

Are there no chances that this foreign artiste could walk away without performing, like Anita Baker did in Nigeria recently?

I don’t think so. I am not ready to tell you what we have in the contract, but I tell you, Buster Rhymes is coming to Asaba, Delta State by the end of this month. There is a TV footage where he publicly said he was coming to Nigeria. If he doesn’t come, his own credibility will be at stake. Each time we perform outside the country, we always make sure we do a TV footage where we announce publicly that we would be coming to that country.

Apart from Buster Ryhmes, which other artistes will be performing?

We have Timaya, AY, Alaye from the UK, Black Solo and 2shotz.

You guys are popular. But don’t you think the N5,000 fee will be too much for people who would want to come for the show?

If it is taking place in Lagos, we will be talking of N20,000. The last time we had a P Square concert in Asaba, we made it N3,000 and the crowd was too much. I am talking about the concert that we had before the release of our current album. Now, we believe that if we make it the same thing, the crowd will be uncontrollable. With Buster Ryme, we are trying to control the crowd by charging N5000. We know the show is for everybody, but the fees will help us to check the turnout.

Are you guys not thinking of doing a ‘collabo’ with other foreign artistes?

Why not? That is the dream of every artiste. There are so many questions surrounding the idea of a collabo between P Square and other artistes. We don’t do our own things the way people go about theirs. We don’t begin to make noise without first doing our homework.

Do you think your current album is as successful as the last one?

Why not? I remember that we toured eight countries in Africa with the Get Squared album. But with the Game Over album, we have been to these countries back-to-back, and an extra nine. The only place left for us to conquer are the four northern African countries: Egypt, Morocco, Tunisia and Algeria. By the time we play in these countries, we are done with Africa.

How was the acceptance at the places you have been to?

Apart from acceptance, and I am not blabbing, I can confidently tell you that we are the biggest in Africa. You see, everybody says Nigeria is big, but nobody knows what is happening outside.

So, the show is an opportunity to give back to the society?

Exactly. It is not that we are doing a charity show or something like that, but to at least make people come together and let them know that what is happening is affecting the image of the country outside.

How many copies of your current album have been sold?

In Nigeria, people don?t believe in paying royalty. What we do is a kind of projection: ‘Okay, since the last one sold seven million plus, this one is projected to sell 10 million…’ What we do is that we strike a deal in Nigeria, go to Ghana and strike another deal, then to Gabon, Liberia, Tanzania, Uganda. Here in Nigeria, we have Tjoe, in Ghana, we have another person. In every country, there are different people we work with. What we did for the album in Nigeria was that we calculated how much 10 million copies was worth and the marketer paid us straight away. That is how we do our business. That is why you can never hear any story anywhere that P-Square is ‘dragging’ anything with any marketer. The album sold a million copies in four days; that is the audio. But the surprising part of it is that the day we released the video, the guy printed just 1.5 million copies and sold all the same day. That is Nigeria.

How come people read suggestive meanings to the lyrics of Do Me?

We are asked the same question not only here in Nigeria but in other places. But we know that when we say, ‘do me and I do you’ in Nigeria, it means tit for tat. The explanation we give is that in Nigeria, there is what we call do me and I do you, God no go vex. It is not suggestive at all.

In the Do Me video, you have a crowd of girls. Yet I learnt the video was not shot in Nigeria. How did you come about such a crowd outside Nigeria?

You see, when we wanted to do the video in South Africa, we met different agencies who came with different albums of the girls they had. We then decided to take ten girls from each agency. But what happened was that, immediately the girls heard that P-Square was in town for the video project, they all wanted to feature in it. We said we would pay those that we selected and told the agencies that the rest was their business. That was why the video looks very crowded. But it was nice.

I never thought you could speak so well, considering the fact that you didn’t finish your education before you became famous?

Yeah, I was in school then, at the University of Abuja. But at the same time, we were battling with parents who wanted us to finish school before doing music. God made things possible for us, because if at the end we hadn’t made it, we would have had ourselves to blame. We give God all the glory, because as soon as we finished school, within two weeks, we started achieving our dreams.

Does your fame seem overwhelming at times?

It happens often; not here in Nigeria, but outside. We have just returned from a concert in East Africa, and it is amazing that even Jay-Z and other artistes that had been to the place did not get a quarter of the crowd that we got. I would play the video for you guys before you leave. The reason we decided to take Soundcity along with us was, so that when we talk, there would be proof. For the first time, you are going to see a DVD of P Square’s tour covering 19 countries in Africa, excluding Nigeria. And it is going to be like five minutes of each country. You will see how we live outside Nigeria and how we are accepted. You see, some people are big in Nigeria but they are not known outside. I can tell you that apart from Tuface, no other person is as popular in these countries as P Square, I am not trying to be immodest.

Are you satisfied with the height you have attained or are you still aiming higher?

No, we are not satisfied. It is not all about making money at shows. We are supposed to be making more money from sales. We don?t do proper packaging here. In Tanzania and Kenya, a CD is sold for $7, whereas in Nigeria, it is less than a dollar. But you see, in Nigeria, we sell more because of population. That is the difference. If we can sell over there what we sell in Nigeria, forget it. We are trying to do things according to international standards for Nigerians to know that there is no difference between us and Jay-Z or any other person outside. People tend to do whatever P Square is doing, like the good video. What we keep kicking against is bringing in foreign artistes and paying them a lot of money. What stops you from bringing in about five artistes and pairing each of them with five local artistes? Put it in the contracts of those guys; they will accept it. That is what we want to prove; you can bring in an artiste and still be in charge of the artiste.

Apart from natural talent, what else do you owe your success to?

It is our brother, Jude, who is our manager. He has studied the industry. He knows everything that goes on in the industry. Jude is a very strict disciplinarian. You cannot say you want to go to the club. You can’t try it. You don’t go anywhere here without two or three people asking you what you are going there to do and why another person cannot go for you. That is how we live. There is serious discipline in this house. You don’t see people trooping in here anyhow; it is not possible.

Why is he doing that?

He is more mature and he knows more about the industry. He knows that people are watching. You hear that somebody went to the club and fought and all that, Jude doesn’t allow that. He says whatever you want to do, do it at home. You want to drink? Drink here. You want to go crazy, do it here. You want to play music and make noise, do it here; not anywhere else.

Do you have other siblings?

We do, but we are the last boys in the family. We have an elder sister and the last girl.

How would you describe the family?

It is strong and loving. There is nothing they do in the family without contacting Peter and Paul. Like the house we are planning to build, they made like three sketches and everybody agreed that whatever Peter and Paul said would be the final.

Do you disagree or argue with your twin brother?

It is a normal thing. But, you see, we only do that when we are at home. We don’t go outside and misbehave. Sometimes in the house, we argue and disagree, especially when we are working on a project. That is why inside the house, we are Peter and Paul, but outside the gates, we are P Square.

But outside, you don?t normally dress the same way or wear the same hairstyle?

There was a time Peter was dating a twin and her twin sister expected me to date her, but I didn’t like that. Later, I began to create a different appearance. He cut his hair and I grew dreadlocks. He goes to the gym, but I don?t. I just want that difference between Peter and Paul. That was why Peter was more in the papers; that he was seen with this girl or with that girl. At least, people will not have difficulty in identifying who they see. Whenever something goes wrong, I want people to be able to identify who was involved: is it the one that has (well built) body or the one with the dreadlocks? I just want people to know the difference between Peter and Paul when it comes to looks.

Your mum appears more visible than your dad. What happened?

Our mum is more visible because of the nature of the job she does. She is more of a public person too because she is a preacher; she has a ministry. But my dad is not. My dad does not like anything that has to do with publicity. But my mum controls people. She speaks in public and people listen to her.

If you have a mother who is a gospel person, why have you not considered doing gospel music?

Yeah, there is something you do and God has His own way. There is something my mum always says, ‘Look, God is giving you guys this opportunity because He is preparing you for something.’ I might not know. Maybe she knows. What I know is that I am doing music to make people happy. I don’t preach sex. I want people to leave their bad ways and think about something positive. We are supporting her in her work and she is there praying for us.

Despite the beautiful picture you painted, there are still some scandals trailing P Square?

That is why we have Peter and we have Paul. No scandal can follow me. I am not saying I am perfect. There are people who cannot control stardom; especially my twin brother, he has that stardom ‘thing’ in him. At times, he loses it, but our manager tries as much as possible to let him realise the implications.

What of this story that you were robbed recently in Cameroun?

Nothing like that happened. We are going to Cameroun for the first time, next week. We just came back from Sierra Leone. If you say we were mobbed, I would agree. We were treated as big stars in the country where a big crowd came out to welcome us, old and young. There was a serious traffic to the extent that the police had to release some shots into the air. We were not robbed but mobbed.

How do you handle girls who would want to get attached to you by all means?

One way or the other, we make them realise that we have our own girlfriends. But I don’t think that is working any more. When you tell them you have a girlfriend, that is when they come even harder, believing they can compete and win. The one that is happening now, which is worse, is that when we are performing, about six or seven girls will be showing us their underwears. It is no longer funny. There are different ways girls try to attract us, but I wish they understand that we too are human. We have our own differences and our life. But we appreciate them, because we cannot do without them.

Are you currently dating someone?

Yeah, I am dating. I have been dating the same person since I was in school.

You are still seeing the same person?

Why not? It gives me the opportunity to remain focused and in control. If you have a girlfriend, no matter the pressure from others, you are somehow stabilised.

Can you tell us her name?

I am not afraid to say it; her name is Anita.

Is she a known person?

No, she is not in the public.

You don’t appear arrogant like people think P Square is?

That is what we are saying. In life, it is not everybody that likes you, no matter what you do. There are some people who would want to pull you down or spoil your name. I keep telling people that it is when you come close to us that you know the type of people we are. We even advise fellow artistes. You know there are some who you can predict where they are at a particular time, especially clubs or joints; we don’t do that. We don’t shout outside because of where we grew up, in Jos, which is a very quiet place where everyone minds their business.

You are here talking to us as a perfect gentleman and yet you go wild on stage. Do you take stuff to do that?

This is Paul sitting. It is P Square that is on stage. That is what happens. I don’t take stuff. What happens is that we love performing and dancing. The reason why people misbehave outside is that they don’t separate their private lives from their public lives. We get on stage and go crazy, but after that, we are normal. We get on stage and see no one in particular.

The other time I spoke with your mum, she expressed confidence that you would still come back to work for God?

Mum always believes that I am going to become a pastor, but that is too late now. She knows, however, that what we are doing is a positive thing for humanity.

What more should we expect from P Square?

We are working on our packaging. There is something in Nigeria, which we don’t see whenever we go outside. We only say we are giants but we are not organised. Outside Nigeria, no radio or television station will play my song without paying me royalty. You could crosscheck that on the computer. Do you think NTA will pay me for playing my song? Imagine some companies using my songs to launch their products without striking a deal with me.

Where do you see yourself and Anita in a few years?

I don’t know. Only God can decide that.

P SQUARE : Do ME

SOURCE: The Punch

Related Links:

P SQUARE at NMA 2008

Ever since Mercy Johnson came into limelight about four years ago after staring in the movie ‘The Maid’, life, as they say it, has never been the same for her. The ordinary girl with a dream, as she likes to call herself, is now big; in fact beyond the shores of Nigeria. Just before she added yet another year to her age Thursday, Mercy spoke with SAMUEL OLATUNJI on her life and about the appellation - sexiest actress in Nollywood.

People refer to you as the sexiest actress in Nollywood. Do you actually think you are?

No! Every woman is sexy in her own way. I’ll just say I’m okay.

What defines a sexy woman?

I think being sexy is not all about beauty. It’s not about exposing yourself unnecessarily. Being sexy is a personal thing. It’s what a particular person portrays in everything she does. Someone might have a sexy way of talking, or a sexy way of appealing to people. A woman appeals to people in different ways. Being sexy in itself is large. You can’t quantify it.

How is it with you and negative report?

For sometime now, it’s really been frustrating. I guess some people are really trying to frustrate me. But I think it’s just a small price to pay for what I get. It’s a little price to pay for everything I get as Mercy Johnson. The negative side is alarming and heart-breaking, but the positive side still carries much weight.

Is it also true that you cut your hair to further portray the much-talked-about sexy looks?

The movie I did for Desmond Elliot was the major reason I cut my hair. It was strictly for the movie.

People call you rave of the moment in the movie industry. How does it feel to carry that tag?

The industry is just too wide for competition. It is a place people come in and keep coming in and your footprint is still there. It’s extremely large. You just can’t have all the fans. You can be the hottest thing happening but you can’t be everything to everybody. Everybody has his or her fans. I’ll say I’m doing well, but not the rave of the moment.

How often do you go on location?

Every week. I’m on set every week. But I’m taking a break for now, so I can look fresh before I travel.

Where are you traveling to?

I’m going on tour of the whole of Europe to meet my fans.

That is a lot of money for you, isn’t it?

God is good (laughs)!

Would you have still been fulfilled if you weren’t an actress?

I think it takes more than luck to make the right choice. I believe in faith and redemption and I believe in myself. It’s not about being an actress. I said earlier that if I wasn’t an actress. I would have loved presenting. I think I still would have been fulfilled because fulfillment is just about doing the right thing well and getting to the apex of your assignment.

Are you in any relationship now?

Mmm… yes!

Between your relationship and your career, which comes first?

It will be my relationship.

So your relationship can cause you to stop being an actress?

There are certain stages you get to and you take some things more seriously. We’re not in the western world. This is Africa, and this is an environment where you need to regard people more than accomplishment. And when I say relationship, I don’t mean boyfriend and girlfriend relationship alone. It means that if I get married today, my marriage comes first. My relationship comes before my career. But right now it is your seriousness that gets you to that point. It’s just like you’re asking me which is going to be more important between my kids and my work; it’s going to be my kids.

Is your boyfriend not complaining about media reports on you?

He complains once in a while because you people can actually split a home atimes. He complains and we quarrel once in a while about some write-up he reads. But, above all, he understands.

With your busy schedule, does that mean it’s a good-bye to Lagos State University (LASU)?

No, I am not saying good-bye to LASU.

So, what’s going to happen to LASU?

I’m still schooling, though it’s not been easy at all.

But I learnt you deferred your study, how true?

Yes, but I’m going to resume fully next session.

Are you sure you will have time to be serious in school?

Yes, I’m going to be serious.

I read recently that you had a carry-over or some problems with lecturers in school. What actually went wrong?

It’s normal for a student to have problem in school, I don’t know why people keep writing unnecessary things. I don’t know why my own should be so obvious. Why can’t they report good things that I do? It’s only the bad things that happen that they get to say.

What does love mean to you?

Love is respect. Love is commitment. Love is being there when it matters most. Love is putting your loved ones first. It’s sacred.

What does your boyfriend do?

He’s not really a press person. He is abroad.

Why is everybody dating someone abroad, are we guys here not up to the task?

It’s not about you selecting people, it’s about the person that comes to you and flows with you. You can’t go for what doesn’t want you; you go for what wants you.

For how long have you been dating?

Almost three years now.

How does he feel when he hears about your stuffs that are supposed to be under wraps being discussed in public?

Sometimes he calls me and says guess where I am and I would say work. He’ll then say people are talking about your hips. But most times we just laugh over it.

How often do you guys see?

We see very often. Whenever I travel, we see. Whenever he’s around, we see. He’s usually around; he’s even around at the moment because of my birthday which is on the 28th of August.

How old will you be then?

Why would you want me to tell you that? So that in ten years, you people can say she’s going to be sixty.

For how long have you been in Nollywood?

Let me say four to five years.

Who introduced you to Nollywood?

A very good friend of mine, his name is Oscar Ray.

Which was your first movie?

The title of my first movie is The Maid.

Is acting all you want to do?

No, acting is not all I want to do. I have lots of things I want to do. I really love to do something that’ll enable me give back to society that has given me the chance and has made me somebody. I was just a little girl with nothing but a dream. So, every time I see girls that are in my former condition, it really make me wants to reach out.

Have you ever had a nasty encounter with a fan?

One happened at a parking lot when I was traveling to Benin. I had gone to the car to pick up my things. While I was doing that, someone just bumped on me and was like, ‘Oh! I like your films, and can I get a hug’. And then I consented. But to my utmost amazement the guy kissed me.

I wish I was in the guy’s shoes (general laughter). So what happened after the kiss?

Well, I was extremely surprised and just had to let go.

What can you say about the rumour of you and Rukky Sanda fighting over D’banj?

I don’t really know what to say about that. I’ve never met D’banj before and don’t even know what he looks like. And I don’t know Rukky.

Your boyfriend is in Spain and you’re in Nigeria. What do you do those times you need that irresistible romantic touch?

We speak a lot on phone and we’re extremely close despite the distance.

Can telephone conversations substitute for the real thing?

Yeah! Closeness in any form, as long as you talk all the time. Communication makes you feel closer.

What happens to sexual temptation?

(Laughs). What’s the meaning of that? Common, Fimi sile jo (please leave me alone).

What do you do when you’re tempted?

I’m never tempted at all.

Even a saint like me gets tempted sometimes.
You never told me you’re a saint, Samuel.

What was it like the first time you were in bed with a man?

No comment (laughs)!

Source: The Sun News Online

Emeka Mba

As part of efforts to make the newly inaugurated distribution policy popular, Mr. Emeka Mba, Director General of the National Film and Video Censors Board (NFVCB), recently paid a courtesy visit to the corporate headquarters of The Sun Publishing Limited, Kirikiri, Apapa, Lagos.

Mba, during his visit, spoke on a wide range of issues, especially the controversial framework distribution policy, his challenges at the board, how he intends moving the motion picture industry forward and many more.

Why NFVCB is visiting The Sun
The SUN has deepened the newspaper business in Nigeria. Of all the papers that I have seen, yours is the only one that has helped and engaged the people and I really want to congratulate the management and staff for doing an excellent job and I pray that the paper will continue to do a lot more. The NFVCB is an agency under the Federal Ministry of Information and Communications.

Essentially, the board was set up by an act in 1993, as a regulatory agency for the film and video industry in Nigeria. As our name implies, we do the censorship of films, classification of films as well as licensing of cinemas, retailers, exhibitors among many others. We are about 15 years old. Part of our visit is to begin a new phase with the management and staff of The SUN and also to thank you for your media support since inception. You have helped in the promotion of our issues and courses and have also challenged us especially when you feel we are not getting it right sometimes.

We have been in Lagos for a few days now and visiting media houses. We are here to explain some of the programmes and initiatives of the board, especially in the last three years, since I joined the board. Chief of this initiative is the Nigeria, In The Movies Project, which actually seeks to promote a lot more responsibility in film making by our filmmakers. We believe that the idea of censorship in a digital age is an uphill task. And without the active participation of filmmakers and the citizenry, it would be impossible for us to make progress. It’s also aimed at creating a channel of empowerment for people within the industry and also help give it structure. Also to help lend our efforts to the fight against piracy and generally promote the cause of good society through what we do at the Censors Board. We have also launched the media literacy programme. We have also launched the Nollywood Interactive with NACA, to fight the dreaded HIV/AIDS.

We want to promote ideals that are beneficial to the industry, using our film industry. We believe that the media, which the film industry is a central part of, can help reshape and redefine and also help change our attitudes as a people. We need the media to become an active player in the growth of our nation. And The SUN being one of the most influential papers in the market of mass media, it would be a big plus for us to join it in this initiative. We will cherish the relationship that we will begin to build from this day.

State’s Censors Boards
Under the current constitution that we operate, censorship is on the concurrent list, meaning that both state and federal government can operate simultaneously. It’s an issue that is quite worrisome to the industry. At the moment, there are issues going on in Kano State. The same constitution also says that states should remain in abeyance, when there is a clash with the federal. We are seeking to get a judicial interpretation from the office of the Attorney-General and Minister of Justice.

The National Assembly has also waded in. We believe we are not a federal film agency, but a national one. We also have zonal offices within the six-geo political zones. We have also set up zonal consultative groups, for stakeholders within that group to participate in our activities. Our offices are in Kano, Onitsha, Lagos, Port Harcourt, Bauchi and Jos and of course, Abuja. Hopefully, with the review of the constitution that we are looking forward to, we will be able to clarify the mode of operation. Its a fight for all of us in the media and creative industry.

Censorship in a Democracy
We are preaching the idea of responsibility now. If one is trained as a film maker and has the higher sense of responsibility, it’s much more likely that he would produce good films. Very soon, our role would be centered on classification and providing the information for people to make decisions. Today, there is no US film that would not reflect the country’s national flag. That’s not censorship, but responsibility and professionalism. Meanwhile, children now have more access to the Internet and there is porno and others. I agree that the word censorship is almost obnoxious, but there has to be regulation. The better word should be regulation not censorship.

Censors Board and Pornography
I must confess that part of our responsibilities is to deal with the issue of pornography. It is also an issue for the wider society to tackle. Over the last three years, we have actually had what we call the National Anti- Pornography Task Force. We have also taken a more strategic stand in dealing with major producers and suppliers of pornographic materials. Our surveillance teams are currently working. We will soon begin an anti pornography campaign. We are also soliciting the help of the media in this direction.

This is why we insisted that everyone, who is retailing films in Nigeria, must be covered, we must know who you are, where you operate and where you get your supply from. The law or act on this issue is clear. We are currently creating the database of the operators. This year alone, we have arrested more than 30 persons and some of them are still standing trials. Its a big challenge and all of us at the board are determined to continue unbent. Though, we can’t work effectively without structure, we are happy that the number of those who are complying with the framework is now greater than those who have not. The doors are still open and the forms are available in all our offices.

Why some Marketers Refused to Register
It is not popular among marketers who have been milking the system. And they also will lose out now that we are democratizing the system. Several marketers have registered, OJ and Ulzee, are among them. For championing this noble cause, I have received several threat text messages.

Big Brother Controversy
Every agency of government has its turf. The Big Brother show is under the National Broadcasting Commission, (NBC). If the content were to come in the form of a tape, VCD or package, it would then fall within our jurisdiction. It’s an interesting issue and NBC is on top of it, they have set conditions for the organizers.

Net worth of Nollywood
It is difficult to speak on any form of accuracy on the net worth of the industry. I can give what we considered to be the estimates; based on what Leke Alder did, using the economic stimulus index. Probably, a statistical analysis of between 250 and 300 million dollars on an annual basis. We are currently doing the baseline survey of the Nigerian entertainment and creative industry in collaboration with HITV. This will help us make an informed investment decision. We have told all marketers to engage lawyers and accountants for the benefit of their businesses, but they are kicking against it. We have also told them to get insurance cover for their creative works, so that it can be valued. This can even help them access loans from the banks. We are also not fighting anybody. We believe in lifting people. We are not out to chase anybody out. This form is online and accessible any where, because the train is moving very fast.

Going back to the Cinemas
All these things point to the perception of a very disorganized film industry. People are afraid to make investment decisions.
They are scared of making elevated investments. There has to be confidence in the environment. It costs a lot making celluloid films and it also requires a lot. We are recording and not yet filming in the industry. What our producers do now is what I call point and shoot.

Censoring a Movie
We look at essentially five thematic materials whenever a film is submitted for censorship, mainly in the areas of context and impact. We censor sex, nudity, violence, drugs and imitable techniques. But the key is context and how the movies impact on the audience. The officers are trained to follow these criteria. And a filmmaker that is not satisfied with our decisions can appeal. some of our responsibilities are training and empowerment, thus bridging the ignorance gap. We need to have more informed and properly trained filmmakers; if we must maintain our position in the global film hierarchy, otherwise we will be a laughing stock. For example, rituals in movies have dropped. We are also organizing script workshops with professionals being invited.

The Way forward
I will speak in terms of my expectations, in the sense that we look forward to a better-structured industry within the next year. We would also begin to see better movies, a lot more investments in the industry. Even the people currently agitating, I expect that they would soon realize the benefits of what they are fighting. Remember when Soludo started the banking reforms, those who kicked against it are now reaping bountifully today and also celebrating and giving him awards everywhere.

Source: The Sun News Online

Biography:

Pieter Hugo was born in 1976 and grew up in Cape Town. He underwent a two-year residency in 2002-3 at Fabrica in Treviso, Italy. He has held solo exhibitions at Michael Stevenson in Cape Town; Yossi Milo, New York; Extraspazio, Rome; the Museum of Modern Art, Rome; Fabrica Features, Lisbon; Bertrand & Gruner, Geneva; Stephen Cohen, Los Angeles; and Warren Siebrits, Johannesburg. Recent group exhibitions include An Atlas of Events at Calouste Gulbenkian Foundation, Lisbon (2007); Faccia A Faccia: Il nouvo ritratto fotografico at FORMA, Centro Internazionale di Fotografia, Milan (2007); the 27th São Paulo Bienal (2006); and Street: Behind the cliché at Witte de With, Rotterdam (2006). Hugo was included on ReGeneration: 50 Photographers of Tomorrow, 2005-2025 (Musée de l’Elysée, Lausanne, and Aperture, New York), an exhibition identifying 50 young photographers who will be considered great by 2025, accompanied by a book published by Thames & Hudson. He won first prize in the Portraits section of the 2006 World Press Photo competition, and was the Standard Bank Young Artist for Visual Art 2007.

Nollywood Project:

In his new body of work, Pieter Hugo explores the multi layered reality of the Nigerian film industry. Nollywood is, surprisingly, the third largest film industry in the world, releasing onto the market between 500 and 1 000 movies each year.

Nollywood produces movies on its own terms, telling stories that appeal to and reflect the lives of its public: it is a rare instance of self-representation in Africa. The continent has a rich tradition of story-telling that has been expressed abundantly through oral and written fiction, but has never been conveyed through the mass media before. Stars are local actors; plots confront the public with familiar situations of romance, comedy, witchcraft, bribery, prostitution. The narrative is over dramatic, deprived of happy endings, tragic. The aesthetic is loud, violent, excessive; nothing is said, everything is shouted.

Pieter Hugo’s Nollywood Series:

Dike Ngube and Gold Gabriel. Enugu, Nigeria, 2008

Gabazzini Zuo. Enugu, Nigeria, 2008

Chris Nkulo and Patience Umeh. Enugu, Nigeria, 2008

Chommy Choko Eli, Florence Owanta, Kelechi Anwuacha. Enugu, Nigeria, 2008

Tarry King Ibizu, Uche Echa, Edeh Emmanuel Ozoemena, Ifanyi Ololo, Ifechukwude Ben,
Ehiedu Kelly Nduka. Enugu, Nigeria, 2008

MORE on Pieter Hugo @ Michael Stevenson

Things Fall Apart by the Jos Repertory Theatre:

The Jos Repertory Theatre in association with the Association of Nigerian Authors (ANA) is set to bring Biyi Bandele’s stage adaptation of Chinua Achebe’s monumental novel THINGS FALL APART to the city of Abuja for the 48th Independence anniversary celebrations in October.

The production which generated rave reviews during the ANA organised 50th anniversary celebrations of the book Things Fall Apart in Ibadan in April is set to do same with the multi-talented cast put together by the Jos Repertory Theatre under the artistic directorship of Patrick-Jude Oteh.

The first production is billed for the 2nd of October in a presentation for schools at the Cyprian Ekwensi Cultural Centre, Abuja, while the other performances are billed for the Merit House auditorium in Maitama on the 3rd and 4th of October 2008.

According to Denja Abdullahi, the National General Secretary of ANA, the idea behind the play billed for Abuja apart from still celebrating the novel at 50, is that “the book has lessons for all of us in the study of our diverse cultures, our unique gifts as a nation especially as we gradually approach our 50 years as a nation”.

Things Fall Apart is the tragic story of Okonkwo who achieves power and status through his own efforts and determination to succeed in a society which honours strength, wisdom, hard work, courage in war and a plethora of other skills.

Achebe’s representation of life in the early 20th century gives us a society with fully developed institutions in a direct democracy all functioning in a society under the benign supervision of a just God. The tragedy in the story is accentuated with the arrival of the white man and colonial power and Okonkwo’s refusal to come to terms with the new ways which he could not understand.

SOURCE: Vanguard

Michael Nwachukwu ( Big MIKE )

THE search for the Lost Chronicle, the symbol of this year’s edition of the popular reality TV show, Guilder Ultimate Search (GUS V) climaxed last night, at the Agwu Hills in Enugu, with Micheal Nwachukwu as the bearer of the treasure.

The struggle among the three finalists - Frank, Linda and Mike - leading to the discovery of the Lost Chronicle was the main menu served last night on the TV package, signaling the end of the three weeks of fun, thrill, anxiety, excitement on national television stations and cable TV across the continent of Africa.

With the feat, Nwachukwu will be exchanging the treasure for a whopping N7m, a brand new SUV and N500,000 wardrobe allowance at a ceremony holding today at the prestigious Protea Nike Lake Resort in Enugu.

Known among his co-contestants as “Big Mike” in reference to his frame and height, which stands at six feet, seven inches, Michael, from the start of the yearly competition sponsored by the Guilder larger, the premium brand from the stable of the Nigerian Breweries Plc, had demonstrated that he was in the game for a big kill. He loves the movie Superman 3 and believes in the popular saying that cowards die many times but soldiers die once. He is from Anambra State but leaves in Lagos. He is a 26 year-old graduate of Forestry from the University of Ibadan.

With his victory, the new millionaire has joined the Guilder Ultimate Man hall of fame, which includes Ezeugo Egwuagu, Lucan Chamblis, Hector Jobarteh and Dominic Mudabai who had recorded similar feats in 2004, 2005, 2006, and 2007 in that order.

As shown on TV Friday night, Mike was speechless for minutes after he discovered the treasure. He couldn’t believe what had happened to him. Besides the spontaneous demonstration of joy, it appeared, he did not know what to say. He was only waiting for the presentation ceremony tonight.

Michael’s victory was, however, a twist of fate as his opponent got there before him but could not find the treasure. Frank, the 26-year-old graduate of Marketing, had shown signs all along of making it to the final treasure, having rediscovered the key found by Dominic Mudabai in Shere Hills last year. Just last Tuesday, he found the symbol that would lead the order of heroes to the Lost Chronicle, dusting the other contenders - Michael, Phina and Linda. Perhaps, following what is fast becoming the characteristics of the show, whereby the first person that gets to the treasure never finds it, Frank got to the actual spot of the treasure but like Julian in Snake Island, Lagos; Martin in Obudu Hills; Tope in NIFOR; and Chiedozie in Shere Hills, he lost concentration and lost the race to a more calculating contender, Michael Nwachukwu.

The exciting programme, which enjoyed wide viewers was beamed from the thick forests of Awgu Hills in the Awgu Local Council of Enugu State. It began with 10 strong contenders, five males and five females. The males were Frank Adamu, Mohammed from Bornu State; Brian Mokelu from Anambra State; Dutman Frederick Sentong from Plateau State; and Mfoniso Okop JJ from Akwa Ibom State.

The girls were Kelechi Ohakwe, elder sister to the Ohakwe twins from Imo State who almost made it to the camp but, were unfortunately eliminated at the final selection party; Edo State born Rita Uloko, a 22 year-old Law undergraduate of the University of Lagos; Abigail Opuagulaya, a 24-year old undergraduate of Oceanography from Rivers State; Fausat Abiola Olarenwaju, a 24 year - old Engineering graduate from Ogun State; and Linda Obi Iweka, the Imo State born undergraduate of Computer Science.

The contestants were carefully selected after rigorous screening and selection exercises across the country, from a long list of 25,000 determined young men and women who entered for the contest this year. At stake was the ‘Lost Chronicle’ a treasure that is well touted to banish the tyrant warlord and save the future.

SOURCE: Guardian

Prince Bubacarr Sankanu:

Be-Rich-Quick Mentality Ruining Nigeria’s Home Video Sector - B. Sankanu

How come you came up with this concept?

The idea of a serious name has been with me since 2004 when I first discovered the Nigerian home video industry. I subsequently visited Nigeria on several occasions to personally study the strengths, weaknesses, opportunities and threats of the Nigerian video film sector. My last visit was in March of this year. During the visits, I posed as an innocent research student in order to get an unbiased first hand information on the happenings in Idumota, Alaba International Market, Ibadan, Enugu, Kano, Jos, Abuja, Aba and other melting pots. As I am preparing to set up new operations in Nigeria by the end of this year 2008, I decided to float this re-branding project for the Nigerian motion pictures sector to, among others, officially introduce myself as the new kid (Johny just come) in town. Though I have been in the shadows since 2004.

Do you think the affected industries would want to make a change to the names you’ll eventually choose?

Who is the custodian of the names Kannywood, Nollywood or Nothingwood? Has any of the Nigerian stakeholders’ associations officially endorsed Nollywood as the ultimate industry brand? Looking at the phenomenal story of the Nigerian home video industry, I am very optimistic that stakeholders will embrace this re-branding initiative. Right now there is a lot of euphoria, but once things reach the point of diminishing returns, stakeholders would scout for lasting solutions. Now people are singing “Nollywood”, “Kannywood” and they care the least about the underlying challenges as they are smiling into the banks and zooming around town in flashy cars. But as the going gets gradually tough, they would realise that their old ways of celebrating the “nothingwood” glamour were not sustainable and they would look for serious brands and launchpads to see them through the hard times that would surely come, sooner or later.

As progressive thinkers we must understand that the showbiz and creative arts industry is dynamic. Those who resist progressive transformation would go extinct. The stakeholders have been talking about “sanitizing” the industry since some of the challenges they are facing caught them unprepared. The Nigerian Federal Government through parastatals like the National Film and Video Censors Board (NFVCB) and the Nigeria Film Corporation (NFC) is doing a wonderful job in responding to the needs of the industry. The new distribution framework of Mr. Emeka Mba and his Censors Board team and, the various projects of the NFC are galvanising the sanitization process. My re-branding (names and logos) project falls within this context of sanitizing and taking the Nigerian home video industry to the next level. Once the hype subsides and once stakeholders start realising that “nollywood” means “nothingwood,” they would not feel good about associating themselves with nothing. But as I said, we live in a free world and those who feel they are happy with “nothing wood” are free to keep the name “nollywood.” Those who feel they need to move on to the next level with seriously unique brands are free to join us. There is room for everyone in a Nigeria of 140 million people and in an Africa of over 600 million consumers.

I will continue to cooperate with the passionate stakeholders who are not infected with the “be-rich-quick” disease. For this “be-rich-quick” mentality is ruining Nigeria’s home video sector and I would not like to be part of the quickie games. Someone produced a movie at 1.2 million Naira and wanted to sell it to me at 2 million Naira even though the quality was terrible. This is just one of the many ridiculous first hand lessons I have been learning about the home video system since 2004. During my research, I also learned that once some actors and actresses hit the headlines, they would automatically think of becoming producers or musicians “to make more money.” A director would like to become a producer and marketer “to make more money.” A marketer or executive producer would force a particular actor/actress on a project “because the face sells movies.” Artistic statement, qualitative message delivery and cinematographic aesthetics are subsequently thrown into the dustbin. This obsession with quick money and 100% return on investment is strangulating creativity. There is nothing wrong in people exploring their potentials but this short-term emphasis on “money, money, money” scares away potential partners with medium to long-term plans. I know money is important but we must not mortgage our creative souls to the gods of money. We need to create a working balance between financial satisfaction, socio-cultural responsibly, creative freedom and self-fulfillment.

Money is not everything in life. Many people who are jumping into the nollywood bandwagon with the aim of becoming millionaires overnight are burning their fingers. The home video sector, like any other industry, will continue to correct itself (through roller coaster trends, bubble bursting) and only stakeholders with passion and long-term strategies can survive the hard times. Besides, there are many other career opportunities behind the camera as the value chain of a standard movie project provides employment for up 235 different professionals. People need to look beyond the limelight.

The disappointing sojourns of some Nigerian actors/actresses into music and other creative segments should serve as lessons for those trying to enter the creative economy for quick money. A successful actor/actress is not necessarily a successful musician or designer and vice versa. Rappers 50 Cent and Eminem might appear on movies but that does make them the better Samuel L Jacksons or Denzel Washingtons. Will Smith might record songs but that does not make him the better Michael Jackson. Sean Combs (P. Diddy) might design cloths but that does make him the better Dolce & Gabbana. Beyoncé Knowles might appear on movies but that does not necessarily make her the better Halle Berry. Naomi Campbell might be a supermodel but that does not make her a super movie actress or pop star. Pop diva Madonna is a good music artiste but her sojourns into acting and film making have so far proven to be mediocre. There are many “superstar wannabes” in the Nigerian home video and creative industry who are insisting on running before mastering how to walk on two legs. It is natural for people to explore their multitasking potentials but they should honestly assess their capabilities before claiming to be multi-talents or superstars, otherwise they would end up eating grass. Show business is brutal. I will join the passionate Nigerian stakeholders in discovering and establishing natural skills without much tam-tam. People can always specialise and make good living without risking too much as jacks of all trades and masters of none.

How do you hope on achieving this?

Through dialogue and cooperation with all open-minded, progressive and sincere stakeholders. Now that I have privately visited and studied the Nigerian video film industry, I have gathered enough bargaining incentives to join the stakeholders on win-win ventures. I will always listen to stakeholders first before presenting them my ideas of mutual benefits. As a case in point of my all-inclusive agenda, Nigerian stakeholders will be commissioned as jurors to select the best names and logo entries. The selected names and logos will be protected by the Copyright Laws of Nigeria and Germany and would only be used by stakeholders who accept our Codes of Conducts. The Nigerian stakeholders will effectively choose the names and draw the Codes while I serve as referee. We will incorporate the “African Cinematographic and Performing Arts Council Ouagadougou (ACPACO)” in Nigeria to serve as custodian and administrator of the new names. ACPACO will check and punish all kinds of abuses as we would never compromise quality content and Nigerian creativity through the new names. We will also create an “Africana Academy of Creative Arts and Sciences (AACAS)” to among others, complement the activities of the Nigeria Film Institute (NFI) and the National Film and Television Institute of Ghana (NAFTI) in training the “be-rich-slow” passionate talents.

Who and who do you have in mind of drafting as members of the jury?

Right know we are short-listing the potential jurors. We will be sending invitation letters to all parastatals and trade unions with stakes in the Nigerian video film industry by the end of this year. Entities like the NFC, NFVCB, the Federal Ministry of Information and National Orientation, the Nation Assembly/Senate Committees on Information and Media, the NTA, AIT, Yotomi TV, the Association of Nigerian Theatre Arts Practitioners (ANTP), Nigerian Actors’ Guilds, Directors’ Guilds, the marketers, the producers, the independent operators, the Yoruba, the Hausa, the Igbo practitioners associations, entertainment journalists, film critics, among others, will be invited to nominate representatives for the panels of judges.

When would it be constituted?

We plan to launch the first flagship top level name and logo during the 2009 Zuma Film Festival in Abuja. The jury will be constituted during the first quarter of 2009. We are giving the fans the chance to make their name and logo suggestions before we bring the practitioners together for the jury work.

Are you a Nigerian? If not, where are you from?

For now all I can say is that I am a black African from West Africa. I am not a Nigerian but I feel Nigerian by heart. I have been a fan of Nigeria since my school days. Professor Wole Soyinka and Chinua Achebe helped me discover the Nigerian in me through their literary masterpieces. During one of our school graduations, I was selected to perform the abridged stage adaptation of “Things Fall Apart.” I believe in the Pax Nigeriana for, the Africans Renaissance and socio-economic integration cannot take place without a strong relevant Nigeria. Despite the negative image of Nigeria and the contemporary challenges, I believe the sleeping giant of Africa will wake up one day just like India and China. The Africa-wide and Diaspora impacts of the Nigerian home video industry justify my “fanatic” support of, and believe in, Nigeria. If I die, I would like to be buried in Nigeria! One of my elder brothers made my “Nigerianization” easier by marrying a beautiful Yoruba lady and by relocating his business interests from Thailand to Nigeria!

What is your stake in this exercise?

I am an international producer and distributor of African and World Cinema. I would like to see the Nigerian video film earn the respect it deserves worldwide. Currently some people are saying Nigeria is the world’s third largest film industry after Hollywood and Bollywood. This claim constitutes blatant exaggeration and self-deception. Nigeria is a video producing nation and not yet a film producing one. The structures that makes a film industry are nascent in Nigeria; they need time and not hype to grow organically. If we are to talk about the third or fourth largest film industry in the world, we need to first look at the happenings in South Korea, South-East India, The Philippines, Hong Kong or Shanghai before reaching any conclusion. Nigeria deserves to be called the World’s Number One Home Video Nation since it has successfully exploited the advantages of digital video technology that lowered the entry barriers into film making. We need to be modest and realistic in our explanation of things.

The Nigerian home movie industry is the product of indigenous Nigerians I hold in the highest esteem known to mankind. I am preserving their legacy by building a global distribution system that will feature Nigerian videos prominently. For the Nigerian home video art is an African Living Heritage that deserves to be promoted and developed in our African terms. This naming exercise is about finding a solid common denominator with the passionate stakeholders. It is about consolidating the home video sector locally and internationally. These are parts of the cardinal components of my moral and material stakes in this New Africa Cinema coming out of Nigeria.

Do you have any support organization here in Nigeria?

I have some affiliates in Nigeria and I have also dispatched letters to some other organizations. They will be known to the public as we move on. I cannot name them now as I am yet to discuss with them how I should be quoting them during my interactions with the media.

Finally Sir, Why are you promoting what many now term as a division in the Nigerian home video industry by further asking for new names and logos for the Yoruba, Igbo English, Hausa et industry. Don’t you think/and/or believe that it would be much better to have a single name and logo that will describe all of them? I mean, like Hollywood represents the American Film industry and Bollywood (even though most Indians are now rejecting the name) represents the Indian Film Industry?

I am not promoting division. One cannot talk of a single homogeneous film industry in Nigeria, India or America. If we look deeper beyond the senseless “wood” titles, we will discover heterogeneous and diversified filming activities. I am therefore promoting unity in diversity. I am following the natural heritage of Nigeria. I am trying to help the world understand Nigeria as a united federation of vibrant Africa civilizations celebrated through the rich Yoruba, Hausa/Fulani, Igbo and other nations. We should not fall into the traps of the Afro-pessimists who see any advancement of the indigenous languages and native cultures as divisive, backward or ethnocentric. Nigeria has over 200 ethnic groups and I understand the concerns of some people. But the reality on the ground between Katsina and Calabar is that we have very lively Yoruba, Igbo, Hausa, Fulani, Ijaw, Efik lifestyles, to name a few, that are positively interacting and shaping Nigeria. This contemporary reality should be shown on all arts products coming out of Nigeria, be they through film, radio, TV, literature, music, dance, fashion, romance, photography or painting. In this age of globalization, only the most vibrant cultures will survive and if we are to heal the psychological wounds of colonial African inferiority complex, we need to rediscover and modernise our Yoruba, Hausa, Fulani, Igbo and other indigenous ancestral archives first before talking about other related issues.

I am very much proud of the stakeholders who are already producing movies in Yoruba, Igbo, Hausa/Fulani and other indigenous African languages. They are in effect teaching the world the characteristics of the ethnic groups and we should endorse their initiatives within the frameworks of civic education, national orientation and multicultural understanding. I am not just looking for serious names for the native movies, but also for a crossover brand that will promote synergy between the Yoruba, Igbo or Hausa/Fulani language segments. Whenever a Yoruba and Hausa film maker decide to co-produce a movie that will celebrate their ethnic commonalities, they can use the crossover brand to market their work efficiently. This constitutes the celebration of a United Nigeria. So on one hand, I am promoting the uniqueness of the Yoruba, Igbo or Hausa/Fulani civilizations and on the other, I am supporting the socio-cultural cohesion of the geopolitical entity called the Federal Republic of Nigeria. I am complementing the activities of the Nigerian Government of the day in the areas of social harmony, cultural entrepreneurship and national orientation.

The name search project is also about creating recognisable global brands and building a quality assurance system for Nigerian audiovisual products.

By and large , I am not a fan of copycats and “bandwagonism.” If we look the African audiovisual media, we will just see exaggerated “copycatism” in the forms of the reality TV, telenovelas, the modelling jobs, the industrial beauty ideals and so on. People seem to have more respect for the imported foreign content/formats than their own creative wealth. The Nigerian home video industry has however proven to the whole world that Africans are capable of telling their own stories successfully in their own vocabulary and styles. Why do we then have to call the Nigerian home video industry “nothingwood” because of Hollywood and Bollywood? The Nigerians video films are largely accepted across Africa and in the Diaspora because they transport the African messages that are missing from the Hollywood and CNN/BBC products. It should therefore be natural for us to have globally recognisable serious names and logos for the Nigerian creative wonder without jumping into the Hollywood/Bollywood bandwagon. It is about the celebration of African creative excellence from Nigeria and not from America or India!

I am glad you mention Bollywood. The Indians are gradually rejecting the Bollywood name as it does not carry the Indian message. Similar to Nigeria with her Yoruba, Igbo and Hausa/Fulani movie segments, India too has vibrant local film axes in the Southern and Eastern regions of the subcontinent that are operating independent of the Bollywood machinery in Mumbai (Bombay). I just feel vindicated by the Indians’ belated gradual rejection of their Bollywood label. If we have serious names and logos for the Nigerian video industry now, we will save ourselves and the next generations the current troubles of the Indians. We do not have to wait until it suddenly discovered in 5, 10, 20 years to come, that “nothingwood/nollywood” does not seriously reflect the creative potentials of Nigeria and Africa. As the saying goes “what an elderly person sees sitting, a young man cannot see standing.” With this name and logo search project, we are trying to join the Nigerian stakeholders in mitigating some of the heart-breaking challenges awaiting us in the future. It is, in summary, a visionary move.

Bubacarr Sankanu is Chief Executive Producer of Afromedia Film & TV International Group Cologne, Germany

SOURCE: Text of a Q&A with The Source and Sankanu

TWO HIT WONDER TO RISING MOVIE STAR

Australia’s pioneer of urban rap Cristian Castillo, aka K.I.C. is making heads turn with a fresh face to acting. After many years in the United States gaining roles in various film and television productions, Cristian now settles back home in Australia as his point of base.

At the age of 17, Cristian was Australia’s youngest pop rap artist to sign a record deal with major label Sony/Columbia. His first hit single, ‘Bring Me On’ gave him instant recognition on MTV, Rage, Video Smash Hits and Rolling Stone Magazine. His second single, ‘The Right Way’ become an international hit, topping the pop charts in Hong Kong and Singapore.

Throughout Cristian’s teenage music career he toured with MC Hammer, K.W.S. and Jeremy Jordan. In 1994 he toured Australia as part of the Drug Offensive, Speed Catches up With You’ campaign. These series of concerts were hosted by Channel 7 and Video Smash Hits.

Looking to be one of Australia’s top leading male actors, Cristian currently has over ten films under his belt. His latest feature is ‘Candy’, where he played the role of ‘Little Angelo’ alongside Academy Award Nominee Heath Ledger and Academy Award winner Geoffrey Rush.

At the age of 14, Cristian’s first role was in the Australian independent feature film, ‘Dead To The World’. Further to his credits, Cristian landed a role in a US feature film, ‘The Street King, directed by James Gavin Bedford, starring John Seda of NYPD Blue and Mario Lopez of Saved by the Bell. Cristian also starred in the US pilot, ‘Roadshow’ by Warner Bros, a Viacom Production.

With over twenty years of life experience in the entertainment industry, this suburban Sydney local is set to give worldwide audiences a new realism to film and television.

For further information or interviews, please contact:
Ritchie Ramos, 7 Flavours
Mobile: 0416 477 832 / 0417 456 562
Email: info@7flavours.com

(In the event that our Australian contact numbers are un-available, sms overseas office: +853 669 0025)

Have you seen any Nollywood picture in recent time? If YES!

Which of the movies did you see?

Did you buy a DVD, VCD or any other format OR did you watch it on a paid subscription channel or video streaming website?

Your honest answer to the above questions will no doubt confirm if you are truly a Nollywood fan of just a saboteur that is out to destroy rather than help build the industry.

There is no gain-saying that most people out there today have access to most Nollywood movies through the illegal, ubiquitous and perverse online video streaming sites that litters the internet space today.

These sites have done more evil than good to the intellectual property owners of media and allied products; Nollywood movies are not left out.

Through this medium, it has become imperative that as true nollywood fans and nollywood supporters you should as a matter of conscience and dedication insist on having authentic copies of Nollywood movies; also be mindful of your viewing sources. It is through these concerted efforts that we can guarantee the sustenance of the Nollywood movies, the Nigerian Movies industry as well as African Movies in general.

Be mindful of your sources and avoid any acts that will support piracy and illegal production and distribution of unauthorized nollywood movies.

The Nollywood stars, Nollywood producers, Nollywood Directors, marketers and everyone within the nollywood industry solicits your true support to sustain this phenomenal growth in Nollywood.

Can you be honest and answer with reference to the above questions; are you truly a nollywood fan?

Call for Entries

We, the African Council for Arts & Culture eV (herein known as AFCAC), are a Pan-African Organisation working to keep the African Civilizations alive while promoting International Understanding. We stand for the Dialogue of Civilizations. As a Diaspora-based organisation with a global African focus, we are currently registered in Germany. Our registration details are No. 43 VR 13311 Amtsgericht Koeln and Steuernummer 218/5751/0602 Finanzamt Koeln-Ost.

We have been closely studying the development of the Ghanaian and Nigerian home video sectors since 2004 and we feel very proud to witness how Africans are single-handedly floating a vibrant home grown creative economy without foreign aid and donor preconditions. The Ghanaian and Nigerian home video phenomena are a testimony of the self-reliance and ingenuity of Africans who are tired of the aggressive negative portrayal of their rich Civilizations. We would like to express our sincere gratitude to the Director General of the National Film and Video Censors Board of Nigeria, Mr. Emeka Mba and his progressive staff for tirelessly leading the sanitization of the home video sector.

While we recognise the huge fundamental challenges facing the young and volatile Nigerian and Nigerian home movie sectors, we have decided to set up shop in West Africa with the aim of working with all sincere stakeholders in securing the respective place of the Ghanaian and Nigerian creativity on the global stage. Our technical partner and focal point in this regard is “Afromedia Film & Television International Group” (herein known as Afromedia with no relation to Afromedia Nigeria Limited) a Pan African multimedia business entity promoting the production and distribution of African Cinema, TV and allied media products under the motto: Deliverer of Highest Quality Programmes from Africa.

We have launched a decade long COMPREHENSIVE GLOBAL BRANDING AND CAPACITY BUILDING PROGRAMME (2008-2018) to help boost the Ghanaian and Nigerian motion pictures and entertainment sectors as catalyst of a dynamic Panafrican Creative Economy. We also hope to correct the negative portrayal of Nigeria as a “419” fraud country through this programme. Every country has good and bad citizens. It is therefore very unfair to stigmatize Nigeria’s 140 millions wonderful people through the greed and arrogance of a few thousand “be-rich-quick” selfish fraudsters.

For the first programme component, we hereby invite all lovers of the new African Cinema and Music to submit NAME and LOGO proposals for the following categories:

1. GHANAIAN FILM INDUSTRY
The Black Star of Africa boasts of a long history of quality film making. The arrival of the digital technology has however sift the paradigm to Digital Video as in the case of Nigeria. The Ghanaian home movie sub sector is informally nicknamed “Gollywood”. We feels this “gollywood”, name which resonates like “gullibility”, is an insult to the creative talents of Ghana. We therefore invite all fans to submit a serious name and logo proposal for the upcoming Ghanaian Movie Industry.

The prize money is 200,000 Naira (two Hundred Thousand Naira or equivalent in Ghanaian Cedi)
A jury comprising representatives of the Ghanaian filmmakers sitting in Accra will be commissioned to vote for best logo and name entry.

2. NIGERIAN FILM INDUSTRY
The Nigeria home video sub-sector is currently nicknamed „Nollywood“. “Nolly” means “nothing” and we AFCAC and Afromedia do NOT feel comfortable promoting „nothingwood“ on the world stage. We will also be disrespecting the pioneers of the Nigerian home video like Mahmood Ali-Balogun, Tunde Kelani, Prince Alade Ayomire, Dr. Ola Balogun, Zeb Ejizo, John Amata, Amaka Igwe et al, if we jump into the “wood” bandwagon just because the Indians call theirs “Bollywood” and the Americans “Hollywood.”

There are globally recognized brands that are working working without the “wood” suffix. For instance Sundance, Cannes, Sithengi, Fespaco, et cetera. We need a Nigerian way. Therefore a name and logo that celebrate the intelligence of Nigerian filmmakers without „wood“ or „nothing“ deserve their relevant places.

The prize money for the name and logo that will complement and eventually replace the “nothingwood” name is N200,000 (Two Hundred Thousand Naira).

A jury comprising representatives of the Nigerian practitioners and concerned government agencies sitting either in Lagos, Abuja, Jos or Calabar will be commissioned to vote for best logo and name entry.
The winning name and logo will be launched during the 2009 edition of the Zuma Fim Festival of the Nigeria Film Corporation in Abuja, FCT.
Those wishing to stick to the “nollywood” name for the chaotic home video sub-sector are free to do so. However, the names and logos that win this contest, will be jealously protected under the Copyright Laws of Ghana, Nigeria, Germany and will be used exclusively by stakeholders who agree to a set of Code of Conducts to be adopted at an impending stakeholders conference. This is meant to for check abuse and, to promote quality branding, sanity, passion and confidence. The new name and logo (identity) will help the passionate stakeholders launch a serious Nigerian Film Industry according to international common sense.

3. YORUBA LANGUAGE FILMS
The history of the Nigerian motion pictures industry is linked with that of the Yoruba language films. The Yoruba Culture is still very much alive in and out of Africa. This can be verified by the Candomble and Capoera in Brazil, the Orisha/Santaria traditions in Cuba, Calypso in Trinidad and Tobago and similar living heritages in other parts of the African Diaspora. Looking at the Mother Continent of Africa, we AFCAC and Afromedia are however disappointed by the fact that traditional African practices like the voodoo are portrayed in the home videos as forces of evil that are negative and inferior to the Abrahamic religions of Islam and Christianity.

While we blame this sad development on the psychological wounds of Colonial/Jihad curriculum, the hypocrisy of the brainwashed African decision makers, the sponsorship of home movies by the aggressive evangelical churches and, the domination of African TV screens by alien media content (copycat reality TV craze, Mexican leftovers, etc), we irreversibly challenge the practitioners, advertisers and programme sponsors to rethink this myopic promotion of “African inferiority complex” in their products. As progressive cultural diplomats of Africa, we feel the blame game is not sustainable. It is therefore time for self criticism and attitudinal change towards our African Heritage, Ancestral Archives and Cultural Orientation. For, only the most progressive, dynamic, creative and vibrant cultures will survive the tough competition of globalisation.

We pray the brave Yoruba filmmakers, artistes, designers, politicians, intellectuals and millionaires take the lead in branding and placing the Positive Progressive Virtues of our African Civilizations in their moves, music and lifestyle for posterity.

Coming to the name issue, we hear acronyms like “Yoruwood” being whispered for the Yoruba home movies but we need a serious name and logo that will best market filmed Yoruba traditions and Culture across the globe.

The prize money for the name and logo of the Yoruba Film Genre is N100,000 (One Hundred Thousand Naira)

A jury comprising representatives of the Yoruba /Nigerian Theatre Arts Practitioners sitting either at the Holy Historic City of Ile-Ife or Oshogbo will be commissioned to vote for the best logo and name.

4.THE HAUSA LANGUAGE GENRE
Despite the changes posed by the strict interpretation of Islam by some conservative forces, a promising sub sector of the Nigerian home video with Hausa language is emerging from the Northern Nigerian commercial melting of Kano. We are however monitoring, with great concern, the counter-productive suffocation of Hausa-Muslim Creativity by the Kano State Censors Officials and the Hisbah Vigilantes. Islam, according to our Sharia Consultants, is not against creative freedom and we strongly believe the placement of the centuries-old traditional Hausa/Fulani music, language, romance, etiquette and other living heritages in movies, music and allied artworks with some contemporary adjustments do not contravene the teachings of Islam.

We hope to work with the Authorities in Kano, the sister Hausa/Fulani States and the Hausa/Fulani theatre arts practitioners in all progressive manners that will help the Modern World celebrate the rich Hausa/Fulani Heritage without any exaggerated Stone Age restriction. For, the Creative Arts are also there to, among others, provoke debate on outdated rigid taboos, dogma and traditions that are stifling prosperity. We say “yes” to Usman Dan Fodio and no to Osama bin Ladin. Yes to Hausa/Fulani Folklore and no to radical petrodollar hate sermons. Yes to African Creative Freedom and no to “Talibanwood” and “Inquisitionwood!”

We need a serious and respectful name and logo for the Hausa or Fulani language films to replace “Kannywood.”

The prize money for the name and logo of Hausa or Fulani language movies is N100,000 (One Hundred Thousand Naira)

A jury of Hausa or Fulani theatre arts practitioners and cultural officials sitting in Yola, Adamawa State will be commissioned to vote for the the best name and logo suggestion.

5. IGBO LANGUAGE MOVIES
Another interesting pillar of the Nigerian home video sub-sector is the Igbo language movies coming largely from the Eastern Nigerian City of Enugu. Though a name like “Ikenga” is making informal rounds as brand for Igbo pictures, we are yet to recognise an stubborn similarity with the Gollywood, Nollywood, Yoruwood and Kannywood madness. Notwithstanding, we needs a serious name and logo for the Igbo language films.

The prize money is N100,000 (One Hundred Thousand Naira)

A jury of Igbo movie practitioners sitting in Enugu will be commissioned to vote for the best name and logo entry.

6. CROSS OVER MOVIES
The promotion of unity and diversity is a paramount component of our objectives. Wile we encourage increase portrayal of rich Yoruba, Hausa, Gha, Pidgin (broken English) Kiswahili language and all other African virtues in films, we strive to promote progressive exchanges between the various Nations of Nigeria and Africa, on the Continent and in the Diaspora. We will continue to support the co-productions of movies, music and artworks that stimulate dynamic interaction of cultures. In the meantime, we need a name and logo for the crossover branding.

The prize money is N100,000 (One Hundred Thousand Naira)

7. ADULT CONTENT AND EROTIC ARTS
We, AFCAC and Afromedia, believe in the promotion of rich native African cultural sexuality, romance and beauty in the creative arts for civic education. We will support all brave filmmakers and artistes who place African sexuality in their movies and artworks with the aim of educating the young people and couples on sexual health and satisfaction with African specifics. We have no time for cultural hypocrisy and double moral. We shall work tirelessly with all concerned stakeholders and censors officials in promoting anthropological nudity and intimacy as part of the genuine components of our indigenous African values without crossing the red-line to the aggressive commercial pornography imported from abroad. We will, with the next 24 months, organise “Stakeholders’ Workshops on Sexuality, Cultural Sensitivity In African Cinema & Related Arts” to draft and approve a binding Set of Code of Ethics for practitioners. Meanwhile, we need a serious Logo and Name for African movies and erotic arts with adult, nude or sexual content to help guide consumers and practitioners.

The Prize Money for the Name and Logo for this category is N150,000 (One Hundred and Fifty Thousand Naira)

8. AFROMEDIA NIGERIA FILM & CULTURAL ENTREPRISES DEVELOPMENT FUND (ANFCED)
We have discovered that the rampant incidence of piracy, the chaotic distribution network and pariah structures are suppressing the growth of a serious distribution and funding mechanism. Investors as still reluctant to put their money into the chaotic African film sector due to the afore stated and similar challenges.

Notwithstanding, we are at AFCAC and Afromedia shave decided to risk it by forming the “Afromedia Nigeria Film & Cultural Enterprises Development Fund (pronounced Anf-ced). This Fund will strive to support the development of a reliable and sustainable financing mechanism for Nigerian and African creative talents. The Fund will be managed by Afromedia. We are conscious of the fact that the huge financial losses in the first years of operations will make us fit for the next level. The name “Nigeria” is borrowed to pay tribute to the Nigerian pioneers and to reflect on the potentials of the world’s Leading Black Nation, the sleeping Giant of Africa. ANFCED will at all times maintain an open door policy to all creative people in and out of Africa who meet the set funding criteria.

The prize money for the logo of ANFCED is The Prize Money is N100,000 (One Hundred Thousand Naira).
See: afromediafilmtelevision.net/name and logo contest 2008 for more

SOME IMPORTANT NOTES:

1.The deadline for entry is September 30th 2008. Entries that arrived after this date will not be considered. To counter any possible delay in postal delivery, we recommend entrants to post their artworks on or before August 21st 2008. Exemption will be granted to entries that arrived after the August 30th deadline provided the post office stamp on the envelope indicates “August 21st 2008” as date of postage. The envelop/ postal package should be clearly marked with “NON-COMMERICAL CULTURAL GOODS ONLY.” Only winners will be contacted and invited to receive their cash prizes during the launch of the respective Name and Logos.
2.The complete list of all eleven (11) entry categories (not published above) can be printed from:www.afromediafilmtelevision.net/nameandlogocontest 2008
3.Entries should be sent in the first instance by REGULAR POST to out technical advisers and focal point :

H.S. Prince Bubacarr Sankanu
Chairman and Chief Executive Officer
Afromedia Film & TV International Group
REF: Name and Logo Contest for The Ghanaian and Nigerian Film Industries
Gerhart-Hauptmann-Str. 31
D-51067 Cologne
Germany
or to Box: Postfach 800144, D 51001 Cologne, Germany

For clarification kindly email: bubacarr@gmx.net, or call : 0049-152-0444-1