My Village Shrine

My Village Shrine

I placed my feet one after the other in movement

Swirling red African dust settled on my feet

As I ate the distance between me and my destination

The laterite road surrendered to a leafy pathway

Noise of occasional passing cars and human chatter

Lost to the quietude of this enigma of a forest

Pulled forward by an invisible force of curiosity

I moved further into the forest towards the stream

From where they say my village shrine reigned

Even before the days of the father of my fathers'' father

And the deeper I went into the belly of the forest

The more fearsome the trees grew to be.

The shrubs became phantoms by tricks of my mind

And the eerie silence became loudly menacing

Running waters drummed to startle as I got near to it

And then, remembering the wisdom of the elders

I liberated my voice to hoarse shouts of the mortals

That the water spirits would go in and grant me safe passage

Between the water that gives life and the land of the African gods

The journey ends for the mortal female except the few favoured by the gods

And even those initiated into the revered cult of priesthood.

Just as the secret of the owl shall never be made known to daylight

So is the shadowy ancient trail to the seat of my village shrine.

My fathers'' father told me that I was initiated ahead of my mates

And so, I should not be afraid of a handshake with the gods

I shook off the cobwebs of trepidation hanging all over me

Looked around and in a leap of faith and courage

Sailed across the stream and walked into the thick undergrowth

Unnervingly evident that I was all by my curious self

It was a journey across the fabled playground of the gods

I knew about them – revered messengers of the gods

Right onto my path they sent chills down my spine

I had come too far to tolerate thoughts of going back.

The apes considered me with fearsome judging eyes

Found me worthy of an encounter with the abode of the gods

Left me to my fate and continued on their tour of duty

Cries of unusual birds I did not see bade me welcome

I ventured yet nearer my destination.

Excitedly, I sallied forth into the last of the shrubs

Before the sacred grotto but as nothing prepared me

For the extraordinary spectacle that beheld me,

I was bewitched and enthralled.

I cautiously moved my unwilling legs

Towards the subject of my visit

I sat down on a carved ancient wooden stool

Right in front of the cave and picked a piece of white clay...

Clay of the gods

I crushed a little and applied on my eyes

With a gradual comprehension that

I was really in the presence of a force

Beyond my mortal understanding,

My eyes grew accustomed to the darkness enveloping me

And I beheld it - my village shrine

Emeka Amakeze

She Died

She leaned on my shoulders and never woke up again

Her hot tears scalded me as they streamed down my back

Lifelessly she hung by me and nobody else felt her pulse

Couldn’t see her lips move but felt she had a bit to say

They argued and agreed she was as dead as a door nail

 

I am here now and you can talk to me I whispered to her

Her pains, fears and heartbreak took shapes before me

Fought back my tears as my heart melted to her ordeals

Urged her to agree with them that she was totally dead

Lost to the world of everything else but the two of us

Tiny warmth, strength of a woman within her heart

Fanned into unquenchable embers of affectionate flames

By the words I sang into her ears and rubbed into her skin

 

I told her she didn’t need to worry her pretty head off

She raised her head, looked me in the eyes and smiled at me

I smiled, she smiled, we smiled and our hearts glowed

And her feelings and soul died to all that hurt her in the past

Held her tenderly yet with arms so firm like no other

My strength and aura were the assurances she needed

Kissed her and promised her that everything is alright

She never woke up to the fears that brought her to me

Emeka Amakeze

Winning Edge

She wants a beautiful wedding. He wants to cash out. But somebody must pay the huge price.

Winning Edge is an exciting family drama that will keep you entertaining with lots of intrigues and suspense.

Written, produced and directed by Emeka Amakeze

Starring actors like

Emma Ayalogu

Tina Mba

Emeka Amakeze

Yvonne Jegede

Justice Slik

Jerry Williams

Ernestina Chikere

Ijeoma Nnanna

The Nigerian Film Commission Bill

The Bill that has currently passed second reading at the National Assembly.

NIGERIAN FILM CORPORATION KEY CHALLENGES AND SUCCESSES RECORDED FROM 2013 TO DATE

Upon assumption of duty of the Managing Director of the Nigerian Film Corporation, Dr. Danjuma Wurim Dadu in 2013, Dr. Dadu and his management team in pursuance of  the Corporation’s mandate to grow and develop a viable film industry, the Corporation has developed a more wholistic and integrative approach in realizing its mandate despite daunting challenges.

CHALLENGES

Notwithstanding the challenges bedeviling the smooth operations of the Corporation, Management under the leadership of Dr. Dadu in its efforts has initiated and taken proactive steps with a view to mitigate the following identifiable issues.  These are:

1. NIGERIAN FILM CORPORATION STATUTE

The major fundamental problem has been the use of the obsolete Decree No 61 of 1979 establishing the Corporation which is lacking in scope, specificity and in details which are necessary for effective policy coordination and implementation for the Nigerian film industry.

ACHIEVEMENTS/ EFFORTS

In addressing this, the Nigerian Film Corporation has initiated the process of repealing the existing Nigerian Film Corporation Act with the new Nigerian Film Commission Bill. The Film Commission Bill currently has passed second reading at the National Assembly.

When the bill is passed into law, the Commission will function more efficiently and effectively as is the case in most thriving and developed film industries. It will also place the Commission to superintend over the film industry and provide the much needed infrastructure and facilities as well as become a film regulatory agency.

Furthermore, The Nigerian Film Commission will amongst other things

       I.            Provide and create a framework for a viable, sustainable growth and orderly development of the film and video industry in Nigeria that is globally competitive;

    II.            Project and protect the rich cultural heritage and the values of the people of Nigeria by encouraging the production of high quality Nigerian films and videos for both domestic consumption and for export;

 III.            Ensure the professionalization of the film industry; by regulating the activities of guilds and association in the film industry for the orderly development of the industry;

 IV.            Encourage the standardization of film and video production, distribution and exhibition facilities;

With this Bill in place we will be able to:

1.                  Establish a Production Services that will produce films and also be the sole mandatory producer of the Federal Government films and documentaries;

2.                  Establish a dedicated channel on terrestrial television and pay television for showing of Nigerian films;

3.                  Establish a rental service for the leasing of film equipment to practitioners in the film industry;

4.                  Establish Arbitration and Mediation services to initiate and undertake Alternative Dispute Resolution (ADR) mechanisms for disputes arising in the film industry;

5.                  Prosecute actions pursuant to the provisions of this Act subject to the Attorney General of the Federation;

6.                  Establish a body responsible for regulating the professional practice and ethics in the film and video industry which shall be known as Motion Picture Council of Nigeria (MOPICON).

In the area of funding the new Commission will

(1)   Establish a Fund for the development of the film and video industry in form of grants and rebate which shall be known as the National Film Development Fund (NFDF).

The Fund shall be the repository of all government grants, funds and financial incentives to the film and video industry.

2. INADEQUATE FUNDING: one of the major challenges which the Corporation has continued to grapple with is inadequate funding.  The dwindling allocation by government to the Corporation has been responsible for stifling the execution of some of the Corporation programmes, activities and projects. This lack of adequate funding from the Federal Government has hindered the NFC the material and necessary muscle to invest in equipment and capital goods and develop infrastructure and facilities that will enable it facilitate the growth of a vibrant film industry in Nigeria.

ACHIEVEMENTS/EFFORTS

Film Financing and funding remains an all important factor in film development in Nigeria.  Notably, the present administration is making concerted efforts in providing intervention funds to stimulate the further growth and development of the film industry as an alternative source of revenue generation to the country.

Based on the above, the Corporation is optimistic that when the Nigerian Film Commission Bill is passed into law which has the National Film Development Fund (NFDF) and the National Film Village Development (NFVD) embedded in it, the Corporation will greatly be repositioned to meet the challenges of the emerging Nigerian film industry.

Despite the financial crunch, the management of the Corporation has embarked on a project drive by reaching out to critical stakeholders for the development of infrastructural facilities for the film industry through the establishment of film villages in Nigeria.

A Film Village is “one stop shops” film destination of the highest international standards with all offering facilities that filmmakers and emerging talents all over the world will come to and carry out their filming activities with ease as well as make Nigeria a film production destination.

These film villages will serve the following purposes:

1.      training hub for film production and post production activities;

2.      equipped with modern facilities of Advanced High Definition equipment for training and film production;

3.      train Nigerians in trades such as sewing, shoe & bag making, hair dressing, computer knowledge skills;

4.      train film related organisations in film production and the use of film equipments;

5.      film industry experience for students undergoing graduate and post graduate training in film, media arts related studies;

6.      provide private and public organisations in film skills trade center and manpower development;

7.      training in- house and external organisations in capacity building;

The concept, design and construction of the film villages will exert enormous positive impact not only on the Nigerian film industry but also on the nation’s economy.

KANO FILM VILLAGE

The Nigerian Film Corporation (NFC) through its strategic partnerships, consultation/ collaboration has attracted the development of the Ultra Modern Cinematography/Film Entrepreneurial Center in Kano which has been appropriated in 2016 Federation Budget.

The benefits of the centers include the following:

1.      Improvement in the quality of film production in Nigeria;

2.      Increase and improve capacity and skills of film makers in film production and training;

3.      increase and improve professional competences of emerging filmmakers;

4.      Increase the learning capacity and professional competences of filmmakers in the art and film businesses;

5.      Encourage and promote film production, marketing/ distribution for filmmakers and other film businesses that would open shop in and around the center;

6.      Provision of the much needed but lacking infrastructure for the industry;

7.      Nigeria filmmakers will not have to look outside for expert services or facilities;

8.      Filmmakers from other countries especially within Africa sub- region will make Nigeria a production and post production destination;

9.      Provision of more theatres and screens for film exhibition in Nigeria with its attendant box office returns;

10.  This centres will attract film practitioners from Europe and America to open shop in Nigeria leading to increased Foreign Direct Investment (FDI) and our film makers can learn from their expertise;

11.  It will create employment not just for film practitioners but others in supporting industries;

12.  Qualitative training will be provided for teeming Nigerian youth while practitioners can hone their skills and be exposed to modern facilities;

13.  It will increase revenue to government through taxes and levies;

14.  Creating linkages between Nigeria and other film industries;

15.  Production and export will generate more FDI and can be an alternative to oil;

16.  Provide more content stream for Television and Cinema as Nigeria transits from Analogue to Digital Broadcasting.

Importantly, the design of the facilities for the film village include Production Studios, Sound Stages, Screening Theater, Post Production and Sound Studios, Editing suites, training facilities, including Hostels, Hotel and accommodation for filmmakers, recreational facilities, eateries and state of the art equipment fabrication and prop production bays, banks, satellite markets, fuel station and side shops sited within the film village.

3. FUNDING OF NIGERIAN INTERNATIONAL FILM FESTIVAL (NIFF

The overall objective of the Nigerian International Film Festival is to explore the economic and audiovisual potentials of Africa’s largest motion picture industry; give impetus to its steady growth pattern and increasing profile as well as align it to the vast and expansive opportunities available in the global audiovisual market.  It is also a platform for Nigerian film practitioners to network with their counterparts from other parts of the world; for co-production opportunities.  The festival will further reward cinematic excellence; promote audio-visual services, cultural products and the huge export potentials of Nigerian films as well as heralding Nigeria’s tourism potentials as a film destination hub.

Funding of the NIFF has  numerous benefits awaits both indigenous and foreign film practitioners and participants to take advantage of the huge marketing deals, negotiations of co-production agreements, selling of film rights, negotiations with film financiers and producers, marketers, distributors, exhibitors and emerging talents and free legal services to numerous clientele as well as film screenings among others.

4. PARTICIPATION AT INTERNATIONAL FILM FESTIVALS

Before my assumption in office in 2013, the NFC has been participating and sponsoring industry practitioners to international film festivals such as Cannes film festival, Berlinale international film festival, Sithengi, American film market and Toronto international film festival just to mention a few. The last time NFC officials participated and sponsored industry practitioners to an international film festival was Cannes in 2013.

NFC is fully aware of the importance of participation in international film festivals including the economic advantage and benefits to Nigerian, film sector in particular. The NFC is not in any way shying away from its mandate and responsibilities. Be it as it may, the inability of the Corporation not to participate or sponsor any practitioners to international film festivals after 2013 outing was due to poor funding. From about the beginning of 2013, revenue accruing to the Federal Government had been on the decline. This affected the adequate funding of government activities, its parastatals and agencies, NFC inclusive. The Corporation has been receiving meagre resources from government which is not even enough to meet up with its immediate financial obligations not to talk of participating and sponsoring practitioners to international film festivals.

 5. CHANGE OF STATUES AND NAME OF THE NATIONAL FILM INSTITUTE (NFI)

The National Film Institute (NFI) being a monotechnic is the training institution for the training of film practitioners, students, emerging talents as well as stakeholders. The Institute has been unable to access regular, special and high impact intervention funds from agencies such as the Tertiary Education Trust Fund (TETFund) for its physical infrastructural development, teaching/ learning development, and research and book development publications.

Consequently, the change of name of the NFI to National Institute of Film and Media Arts Studies (NAFIMAS) has become imperative if the Institute is to receive intervention funds meant for the upgrading of infrastructural facilities. 

(a) Registration of National Institute of Film and Media Arts Studies with National Universities Commission (NUC), National Board for Technical Education (NBTE) among others.

(b) Registration of National Institute of Film and Media Arts Studies  with Tertiary Education Trust Fund (TETFund) for Regular Intervention.

It will enable the Institute to access regular, special and high impact funds from Tertiary Education Trust Fund (TETFund) for the development of physical infrastructure, teaching and learning environment as well as for academic and research purposes among others.

a.       The Institute will then have the capacity to commence postgraduate programmes in Film Technology, Media Studies and TV Production/ Journalism respectively.

b.      The Institute will be reposition into a world class film and media training institution for the overall benefit of film practitioners, stakeholders and the training of youths in film and media arts for self- employment and job creation.

6. EQUIPPING OF DUBBING, SOUND AND EDITING SUITE FACILITIES

The Corporation secured support from TETFUND and has put in place state-of-the-art editing suite which is one of the best digital studios in Nigeria.  The features of this equipment are 3.754 processor, 32GB Memory RAM, 2-Finepro D300 graphics, processor with 2GB of GDDR5 memory each, 1terabyte flash storage and six thunderbolt 2 ports high speed 1/0 devices.

The editing suite has the capacity of capturing:

1.      4-5K video footages,

2.      Newest version of Apple Mac Pro and it is the third purchase equipment in the country.

3.      Softwares including Final Cut Pro X,

4.      Avid Media Composer, and

5.      Adobe Creative Cloud (CC) 2015

7. FUNDING OF SHOOT! TRAINING AND CAPACITY BUILDING PROGRAMME

This indeed is one of the most unique introductions by the Nigerian Film Corporation in the area of capacity building. SHOOT! is an annual training and capacity building programme for film practitioners, media and information officers in both public and private sector, students and stakeholders among others. The objective is to impact professional expertise, exchange ideas, engage in lively discussions, learn practical experience in content creation as well as provide knowledge on managing film businesses effectively.

The training is designed to expose film practitioners; media and information officers in public and private sector, students, academia and stakeholders to the latest film production and post-production techniques as well as acquaint them with recent technologies in production and post-production equipment available globally.  The Corporation is targeting 300 participants to attend and participate at this training programme.

Funding of SHOOT! Training and Capacity Building Programme will enable film practitioners to apply the knowledge acquired in the production of qualitative films that are of international standard and thereby further making the country a noted film nation.

8. UNCOMPLETED STUDENTS HOSTEL (MALE AND FEMALE) SINCE 2009

The completion of the students’ hostel of the National Film Institute (NFI) has become necessary in view of the challenges faced by students in securing accommodation. The hostels when completed which will enhance students comfort for learning. When the hostels are completed it is expected that students of the National Film Institute (NFI) will now have access to standard hostel accommodation with utmost safety. Currently, work is ongoing at the site the contractor promise to handover the project to the Corporation in few months to come.

9. INFRASTRUCTURAL DEVELOPMENT

The Corporation pursuit with vigor and secure the support of intervention from TETFUND from overflow from University Jos in two basic areas:

a)      Critical Film Equipment, Critical Film Equipment, which among others include 100 IMAC Computers, 4 Editing suites, 3D Studio Composition Animation software Mini Sound and Production Stage, measuring 15.60 x 10 x6.3 meters. Some of the critical equipments are ARRI L7-C, Dido Light Fellon Technopro; Spectro LED-9 Lights, including Chroma  Key Green Screen, Lens- ISCO Precision Optics; a Multi Media Panasonic Projector – PT – DW5 and DVD 12 Loader Duplicators.

A.    The various architectural, engineering drawings and Bill of Quantities (BOQ) for the Lecture Rooms and Offices has been produced. The specifications and the BOQ for the critical equipment have also been produced by the University of Jos. Prequalification advertorials by the University of Jos were placed in the Blue Print newspaper of April 14, 2015 as part of the procurement processes. It is the hope of the NFC that the flag off of the supply of the critical film equipment and the construction of the lecture rooms and offices will commence in due course.

10. PRODUCTION OF SHORT ADVOCACY FILMS AND DOCUMENTARIES 

Funding has remained a constant factor in the inability of the Corporation to produce short advocacy films such as antigay, anticorruption, nationalism and patriotism, ethical values as well as documentaries of government programmes are well publicized.

The Corporation galvanized its efforts and secured the following collaborations in the production of short advocacy films.  They institutions include:

1. UNICEF

2. Women for Africa Foundation

3. UNICEF collaboration in promoting Women’s engagement in peace and national security in Northern Nigeria etc.

4. NFI and French Embassy Collaboration

The French Embassy is partnering with the National Film Institute on training and capacity building. A Memorandum of Understanding has been prepared in this regard. Similar contacts have been made with the Chinese, Spanish and German Embassies in Nigeria as well as the British Council.

5. NFI/ British Council Collaboration

The Corporation held a consultation with the British Council in order to organize:

a.         A Screenwriting workshop in the UK for students and lecturers of NFI

b.         Organized UK Education Exhibition in Abuja and Lagos in the first week of July 2016.

c.         Screening of footage on Nigeria from the British Archive at NFI

d.         Training of one archive staff

6.  Screenwriting Programme

The British Council in collaboration with UK National Film and TV School (NFTS), the National Film Institute (NFI), the Edinburgh International Film Festival (EIFF), and the African International Film Festival (AFRIFF) has designed a screenwriting programme to connect script writers and tutors. The project is aimed at bringing together; inspiring and motivating contemporary screenwriters to explore develop and create screenplays through a range of high quality workshops, mentoring and development programme delivered by top industry professionals.

7. British Council Script Junction Project

The Corporation was represented at the International Film Script workshop organized by the British Council. The project is designed to connect UK and Nigerian scriptwriters in a bid to explore film trends, cinematic identities amongst participants from Nigerian and UK.

The second leg of the workshop was held in Lagos under the platform of African International Film Festival (AFRIFF) from the 8^th -14^th November, 2015. The initiative is against the backdrop of film as a potent tool for cultural diplomacy amongst both countries and the need for a concerted effort to explore the trends and cultural peculiarities which will greatly influence script contents and patterns.

11. MEDICAL FACILITIES FOR STUDENTS AND STAFF OF THE NATIONAL FILM INSTITUTE (NFI)

As part of its welfare enhancement programme for the students and staff of the Institute, the Management established a Sick Bay to cater for emergency and minor cases especially during film production activities.  The Sick Bay is being equipped and functional.  In the meantime, management has approved a revolving drug fund for the facility. In addition, the Management is working towards registering the Clinic with the National Health Insurance Scheme (NHIS).

12. UNCOMPLETED STUDENTS CAFETARIA BUILDING -2009

This facility which construction work has reached advanced stage needs to be completed so that students of the National Film Institute (NFI) are provided catering services. The completion of this standard cafeteria will align the Institute to other film institute’s globally and will cater for the catering needs of the students and stakeholders alike.

CONCLUSION

Despite the numerous challenges and constraints arising from the obsolete act, paucity of funds faced by the Corporation, it is worthwhile to emphasize that it was able to attract infrastructural facilities and film equipment such as Computers, the state-of-the-art Editing suite, and other development to both the film industry, NFI/NFC permanent site, which will enhance teaching and learning thereby fostering the employment generation drive of the present administration.

With the right regulatory framework consequent upon the passage of the Corporation’s NFC Bill, hopefully this year, it is the believe that the Corporation would be in better stead to catalyze the much needed development of the film sector with far reaching development for the turnaround.

How to become a successful actor in Nollywood

I thought I should share this...

"I recently had an ‘interview’ with my old high school and one of the questions that was asked was one of the questions that I find so hard to answer. “What advice would you give to someone who wanted to become an actor?” Whenever I’m asked this, my first thought is – who am I to be giving advice? Especially when I’m still figuring it out myself. But this is what I said and it came out pretty cohesively, so I’m going to keep this and make it a monologue whenever I’m asked again in the future.

“Don’t do it. Find something else to do that you can be happy doing. It’s not glamorous, that’s only what you think it’s like because of what you see and read in magazines and the internet. There’s no money in it, you’ll be poor, poor to the point that every penny seems like $100. You’ll have to leave all your friends and family behind at some point, if you truly want to pursue it on a professional level. You’ll be rejected over and over and over and over again on a daily basis, countless times you will hear NO before you get out of bed in the morning. You can work and sacrifice for fifteen years of your life and never see a dime or even get a single part in a TV show or movie. If you can read all that and be unfazed, then you can start thinking about pursuing a career in front of the camera.

This is always a tough question to answer, one that I asked a long time ago too. And you’ll find so many people saying the same things – DON’T. I never understood why established and successful actors and celebrities, who were obviously successful at what I want to do, advising hopefuls to ‘do something else’. Now, over ten years of being in this business, I fully understand what they meant and whole heartedly agree with their advice. It’s a tough, tough business. I don’t think there’s anything like it, no industry to compare it to. There’s no corporate ladder to climb, there’s no step by step process, you don’t make money for a long time (if ever), and there’s just no guarantee of a job, ever. It sounds harsh but that’s the reality of this business.

To help paint a picture, when I started out, I didn’t have any idea of where/how/who/what I was supposed to do – heck, some days, I still don’t. It took a good two years just to get my bearings straight and even begin heading towards some kind of path I thought may be beneficial. I worked for free for many, many years, never saw a dime from acting. I worked various part time jobs to make rent and eat, spent tens of thousands of dollars that I didn’t have (thanks Visa, Mastercard and American Express!) on classes, workshops, pictures and more. It’s been doing this for over a decade and I’m still paying off the debt I created from many years of struggle. I was prepared to live out of my car, I never had to but I have friends that have had to, I know people who couldn’t afford anything except bread and peanut butter for every meal, every day.

Over a decade and I’m not a household name – my neighbor doesn’t even know my name, I’m not a millionaire, there’s no fame, there’s no fortune. I’m rejected everyday, I fail daily. I get about 1% of the acting jobs that I audition for, out of more than thousand auditions which has spanned over more than ten years, I only have about fifteen legitimately professional credits . I still work a day job. Often times, there is no free time, no time for hobbies because of classes, workshops, working a job, studying, etc. For awhile it was and still sometimes is, eat, sleep, breathe acting business, and not even because you want to, but because you have to in order to keep your dream alive. The worst of it all, I’ve had to leave all my friends from high school and college, and my family behind. And I’m not whining, I’m telling you this because this is typical for any actor and it’s what to expect. Sure we all hear stories about someone plucked from obscurity and thrust into stardom for instant fame, money and “success”, but that is not going to happen to you. You have a better chance of reciting the script of my favorite movie BRAVEHEART, better than me – it’s just not gonna happen. One of my favorite quotes is (not from Braveheart), “How does one become successful? – Right Decisions. How does one know which are the right decisions? – Experience. How does one gain experience? Wrong Decisions.” You will fail, hopefully over and over again until the doubt creeps in and you just want to give up. And that is exactly how you will succeed.

And honestly, there’s no one path to take. Every actor finds their own way and I promise you, they’re all different, all million of them. All I can really offer is that you keep consistent, do the work – no shortcuts, have patience, persistence, positivity and be yourself, not what you think others want or need you to be. And just know that this industry is full of opinions and don’t listen to any one who tells you that there is only one way or the way to do it, including me. Believe in yourself, your talent and don’t ever underestimate that you belong.”

The above are opinions based on our experience. We are not experts and do not make any guarantees as to the success or practice of these opinions."

I read through the above, mirrored the thoughts of the writer to mine and those of so many others in Nollywood and thought to share. I owe the writer big time.

                         Emeka Amakeze writes...

Is the Nigeria Film Institute dying?

This letter was posted on the WhatsApp Forum of the Directors Guild of Nigeria by Dickson Iroegbu. The voices of these students must be heard.

"I got this very disturbing mail from the students of NFI - with pictures attached.

Greetings Sir!

It is rather an unfortunate situation that the first line of communication and exchange that would exist between the students of the National Film Institute, Jos and your noble self as a strategic industry icon would be on the ground of unfavorable developments. While we concur to the shamefulness of the prevailing circumstances, we believe that somehow fate and chance have gifted us with an opportunity to interact, network and ally in the interest of our passion and for the common good of the Nigerian Film Industry.

You have been one industry icon that we have followed with keen interest with your film, “Widow’s Cot,” being a reference film for us at different times. However, we are glad that beyond recent events and saddening scenarios we are finally getting in touch with you in a relationship that we hope that will be mutually beneficial and very significant to this industry that you have shown so much passion for.

As it may have come to your knowledge, the Film Institute in Jos is currently undergoing difficult times. This has motivated the several protests that have rocked both the institute and the Film Corporation. Ever since the appointment of Engr. Danjuma W. Dadu, the Managing Director of the Nigerian Film Corporation, the supposed apex film agency in Nigeria, it has been clear retrogression for the institute, the corporation, and the industry at large. The Marine Engineer by training, without a prior experience in film or anything related to it, has continued to live up to the tag of a “square peg in a round hole”. Therefore, on Wednesday 20th of July, 2016, the student had had enough and would keep quiet no more.

When voices rose at the appointment of Engr Dadu, with notable industry practitioners like Ibinabo Fiberesima, Chike Bryan and a host of others, rejecting the appointment and calling for a change, we thought, as students, that the government of the day may have thought about what is best for us and the industry. After all, the government was showing the zeal to promote the Nigerian Film Industry and would not deliberately throw spanner in the works. Alas! We were wrong, despicably, utterly wrong! Dadu is the worst thing to happen to the National Film Institute, the Nigerian Film Corporation, and the Nigerian Film Industry at large!

The National Film Institute Jos, a film training institution that had hitherto been a prime film school, and had produced very talented film craftsmen doing great works; from the likes of Yinka Edward (Oct 1st, Shuga, Figurine), Achor Yusuf (Desperate Housewives Africa), Leo Nformi (Head Director, Ebonylife TV), Afred Chia (D.P/Director, Ebonylife TV), Kenneth Gyang (Confusion Na Wah) Ali Mustapha (Aljazeera), Adaobi Obiegbosi (African Students International Film Festival), Aaron Ugede (Mnet) Mike-Steve Adeleye, Mak’ Ukusare, Chinedum Iregbu, Lot Pindem, Ifeanyi Iloduba, Ejim Fortune Kezi, Julius Morno, Jide Bello, Akasa Stephen Angba, and many others too numerous to mention with several awards under their belts – the school is dying under the incompetent management of Engr. Dadu.

To be factual, elements that are not fit for the classroom are currently holding sway as proud resource persons. All the qualification they need is to be Dadu’s tribe, or his stooge. Qualified lecturers, most of them tested and trusted, and adequately trained abroad, have been either transferred to the now moribund film corporation where staff only sit-out and gist, or frustrated into resignation. The curriculum is the worse since the history of the school. The classrooms, facilities, and library of the institute is the type you don’t wish for even an enemy while Dadu scrapped all hostels sending students into the often volatile city of Jos. High point of this careless decision was the untimely death of two students last year when a Chlorine Gas exploded at a Water Treatment Plant close to where they rented an apartment. These are dreams and hopes unnecessarily cut short, and have been how unfavorable Dadu’s decisions are.

No internet facility, no water, no light, broken toilet facilities, dilapidated classrooms and over-levying of students have taken their toll on once-very-bright talents. Poorly motivated staff, many of whom have not been paid for over two years make matters worse. Then, the result of students has not been seen for close to two years now with the graduates of 2015 currently stranded. Their results have not been seen while their NYSC mobilization is currently under jeopardy. The University of Jos, where the institute is affiliated is currently threatening disaffiliation over owing of some University Professors who come to teach the students of the institute key GST courses. Truly, the lives of students here are in shambles. Threats to life and graduation have kept students perpetually in bondage and sadly, there have been 6 deaths between NFI and NFC in the last 12 months, the worse since the history of both institutions.

Note that in all these, no student is allowed to owe while students were coerced into jettisoning the Federal Government’s TSA arrangement for a cash payment at the school’s bursary. Yet, no staff is paid and students have no access to equipment, facilities, and social welfare.

These students could be your sons, daughters, brothers, and sisters. Evil thrive when good men sit and do nothing. The conscious alienation of the students of the institute is a deliberate ploy to cut them off from the larger industry to ensure they do not get a large support base. This is a detrimental tactics because no institution can exist in isolation. We need each other alike to foster a bigger and better industry and we think now is the time to raise a voice together.

Therefore, we solicit your support at this peculiar time in any way possible, anything to remind Engr. Dadu that the students of the institute are human beings and not animals. We also urge you to help us cry out to the government to save us or we perish.

The main SUG force of the students was suspended indefinitely by the MD to drown out our voices and ensure that we do not have a common front. This can only happen if you choose to remain silent. Please, don’t!

We are all united by one passion, one profession, and one industry. Posterity is watching!

Michael Chimex Onwunali

For: and on behalf of the entire students of the National Film Institute, Jos."

Being me

Representing Streamsong Projects Films

I still remain Emeka Amakeze. You can't beat me at being me!

Ikuku Uguru

This is for those who love to read books written in Igbo language.

Click on Ikuku 

Emeka Amakeze

To prove that Tinubu is not afraid of LIVE TV INTERVIEWS, they said that he “is contesting for Nigerian President, not Media President. Now that they tweeted a video of him riding a stationary bike in 2013, is he contesting for Nigerian Cycling Federation President?