Tag Archives: Nollywood

“Yoruba Movies: Creating Indelible Authentic Identity”: First International Conference of Yoruba Films, Adeleke University Ede, Abstract Deadline 1 February 2013


PRESS RELEASE

FIRST INTERNATIONAL CONFERENCE OF YORUBA FILMS
The development of the film enterprise in Nigeria cannot be complete
without stating the fact that the Yoruba were among the front runners in
its development. With the shifting of emphasis from the Colonial Film Unit
to Nigerian Film Corporation, the fact remains that some Yoruba, the likes
of Alade Aromire and Adebayo Salami broke the monopoly of film making from
the celluloid stock to video technology with the introduction of the
Structural Adjustment Programme. Many film artists rose after this
experience, just as more opportunities were opened for young talents. This
however, is after Chief Hubert Ogunde, Ola Balogun, Moses Ola-iya, Ademola
Afolayan, Ojeleke Ajangila (the masquerade drama guru) and a host of other
leading Yoruba artists have opened up great opportunities through their
ventures in celluloid films and their theatricality. With the setting up
of the Nigerian Film Corporation, post production that was always done in
London was shifted to Nigeria.  It will not be outrageous to say that the
Yoruba opened up the technological investment opportunities the genre can
offer in Nigeria, though they may not be seen as defining the genre
outside the shores of Nigeria.

Attempts therefore need to be made to explore some unique features of
Yoruba films and compare it with what obtains within and outside Africa.
Thus, it is important to give real and specific academic attentions to it
because of the latest modern developments of identity accolades. This is
necessary, because while some other Nigerian groups have readily keyed
into the wood identity, and some have suggested Oduwood from the Oduduwa
progenitor, the Yoruba film makers would rather prefer to be classified
under the Association of Nigeria Theatre Artists Practitioners, (ANTP) and
their productions simply identified as YORUBA FILMS or Naija Films
(Ogunleye 2012). Thus, because no world acclaimed identity has been
created for it, Yoruba films have had to grudgingly feature under the
Nollywood identity, and thereby had to play the second fiddle.
This is why the Mass Communication Department of Adeleke University Ede,
Nigeria is inaugurating a yearly International conference on Yoruba Films,
with the intent of not only opening up research into the genre, but
restoring the lost glories and identity created by the pioneering Yoruba
Film makers, but also an avenue to showcase Yoruba films, promote upcoming
artists, and open a library for Yoruba films in the University.
This conference is therefore organised for academics of Yoruba and
non-Yoruba extractions, within and outside Nigeria to present scholarly
papers and, Yoruba movie artists and producers to showcase their films.

Theme: Yoruba Movies: Creating Indelible Authentic Identity

Sub-theme: Abstracts are invited from any of the sub-themes below:
1.    Theatre Practice from the Alarinjo, Ajangila set up to the Screen.
2.    Contributions of Yoruba doyens of modern and traditional Theatre to
film developments in Nigeria.
3.    Contributions of Yoruba Movies to film development in Nigeria.
4.    Yoruba Films and global identity.
5.    Yoruba films, technology, quality, distribution and marketing.
6.     Unique features of Yoruba Films- scripting, dialogue and production
acting styles.
7.     The ANTP and movie ethics and morality in Nigeria
8.    And any other relevant ideas.

Abstracts not exceeding 300 words which should contain personal and
organisational details of the scholar should be sent to:
yorubafilms@rocketmail.com

and copy:
ayansolamd@ymail.com

Deadline for submission of abstracts: 1st February, 2013.
Submission of full papers: February 15th, 2013.

Guest Speaker:  Prof Ayo Akinwale- Department of Theatre and Performing
Arts, University of Ilorin, Kwara State Nigeria.
Royal Guests: Yoruba Obas that have been involved in Theatre practise.
Date: March 12th to 14th 2013.
Venue: Multipurpose Hall, Adeleke University, Ede Osun State Nigeria.

For more details, Yoruba movie producers and other interested scholars who
wish to display their films at the conference venue can contact:
Dr. Kayode Animasaun: Head, Mass Communication Department.
Tel: +2348073787551
Margaret Ayansola: Secretary, Conference Planning Committee.
Tel: +2348136903086

Call for Papers: Special Issue of Black Camera on Nollywood as a New Archive of Africa’s Worldliness, Deadline: 15 September 2012


CFP: Special Issue of Black Camera on Nollywood as a New Archive of Africa’s Worldliness

The cinema journal Black Camera invites submissions for a special
issue, or a section of a future issue, that will investigate
Nollywood, the Nigerian commercial movie industry, as a new archive of Africa’s worldliness. Inspired by the work of Achille Mbembe, this issue seeks to understand Nollywood as an everyday practice “through which Africans manage to recognize and maintain with the world an unprecedented familiarity” (Mbembe 2002). Nollywood’s significance, then, involves not only its staggering productivity and commercial success, but also encompasses its implicit challenge to dominant narratives that represent Africa as absolutely other or as defined by an essential difference.

We invite papers that put Nollywood in contact with current debates in film theory and world cinema studies, or that place Nollywood beside other transnational film and media industries so as to highlight its singularity and make visible a more variegated and complicated cultural ecology of globalization. We also welcome contributions that seek to understand Nollywood within the context of recent structural, technological, and ideological transformations associated with globalization and late capitalism and that explore Nollywood as shaped by its multiple circuits of consumption and production and by the global processes it participates in. We are interested in papers that attend to the aesthetics, stylistics, and imaginaries of Nollywood movies, with particular focus on the global popular and other discourses as reimagined and remixed by Nollywood.

Possible essay topics include, but are not limited to, the following:
Nollywood as a minor transnational practice; Nollywood and regional media flows in West Africa; affiliations between Nollywood and Hollywood, Bollywood or other commercial industries; Nollywood and the African diaspora; the transnational flow of Nollywood aesthetics; the New Nollywood; Nollywood and the “Worlding” of Africa; the Afropolis and Nollywood; video technology and Nollywood; Nollywood and transnational screening circuits; Nollywood co-productions;  Nollywood in South Africa; Nollywood in East Africa; cosmopolitan subjectivities and Nollywood; Nollywood and the governmentalities of neo-liberalism; the uneasy interaction of Nollywood and international film festivals.

In addition to essays, interviews and commentaries will be considered.

Essays should be 6,000-10,000 words, interviews 6,000 words, and commentaries 1,000-2,000 words.

Please submit completed essays, a 100-word abstract, a fifty-word
biography, and a CV by September 15th, 2012. Submissions should
conform to the most recent edition of the Chicago Manual of Style.
Please see the Black Camera website for journal-specific guidelines:
http://www.indiana.edu/~blackcam/call/#guidelines

Direct all questions, correspondence, and submissions to guest editor Carmela Garritano (University of St. Thomas) at
cjgarritano@stthomas.edu.

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International Conference: Nollywood, Women, and Cultural Identity, at Benue State University, Makurdi, 8-11 May 2012


Nollywood, Women, and Cultural Identity

Call for Films: Nollywood Film Festival, India to be held 1-10 October 2011. Film Submission Deadline 25 September 2011


From Film Afrique.  Blues and Hills has clarified, upon inquiry, that the submission deadline for films is 25 September. The festival will hold October 1-10.

Nollywood goes to Bollywood

New Delhi, the capital of India, is set to host Nollywood filmmakers this October in celebration of Nigeria’s Independence Day. The Nollywood Film Festival-India will be a celebration of film, music and arts festival for new talents from Nigeria. It will feature Nigerian film practitioners, fashion designers and musicians.

Co-director of Nollywood Film Festival and CEO of Big Hitz Records, Henry Money Samuel, comments from his Delhi base: “There is a large community of Africans, especially West Africans living in Delhi alone, which is where we are taking the festival to, for the first time. We hope to organize exhibitions; workshops and cultural tours that will make them connect with their roots.”

Films will be submitted for screening and discussions. The final night is an awards night, where winning films will be recognized and celebrated. Filmmakers are encouraged to submit their films. Send an email and trailer to Dera Igwe at info@bluesandhills.com.

Nollywood Film Festival is organized by Blues & Hills Consultancy and supported by FilmAfrique.com and Big Hitz Records.

Call for Papers: “Nollywood and the Global South” a Special Issue of The Global South, Deadline for abstracts 4 November 2011


CFP: The Global South 6.2 (Fall 2012)
Nollywood and the Global South

The Global South is an interdisciplinary journal, published semiannually by Indiana University Press. The journal focuses on how world literatures and cultures respond to globalization. Its premise is that the various Souths苯rom the North American South to the European South, Latin and Central America, Africa, Asia, and Australia貞hare comparable experiences that differentiate them from mainstream and hegemonic cultures in their locations. Since many of these Souths share not necessarily a common wealth, but various issues of marginalization and inadequate access to means of production and amenities under globalization, TGS is concerned with the intersections among their experiences. The journal is interested in how authors, writers, and critics respond to issues of the environment; poverty; immigration; gender; race; hybridity; cultural formation and transformation; colonialism and postcolonialism; modernity and postmodernity; transatlantic encounters, homes, and diasporas; resistance and counter discourse; among others under the superordinate umbrella of globalization. This Call for Papers is for a special issue on Nollywood and the Global South.

Nollywood, the Nigerian film industry, is one of the fastest growing movie industries in the world. In terms of creativity and inventiveness, Nollywood movies provide a good example of Africans consuming what they produce. The responses of people of African descent in the Diaspora and in the Global South as well as those of people all over the world to the phenomenon of Nollywood raise critical social, economic, literary, and cultural questions about globalization and interculturalism. In this issue of The Global South, we invite essays from scholars working in all areas of African and film studies on all aspects of Nollywood, globalization, and the global south, including essays on the history and emergence of Nollywood, how Nollywood acts as an agent of globalization and how it contests globalization by promoting local discourses, how Nollywood functions as an alternative means of cultural representation, counter-discourse, and cultural renaissance, as well as articles on theory and aesthetics. Possible topics include, but are not limited to, the following:

History of Nollywood
The Future of Nollywood
Reality in/and Nollywood
Karma and Nollywood
African Morality and Nollywood
Nollywood and Auto/biography
Nollywood and Cultural Renaissance
Nollywood and Tradition
Nollywood and Religion
Nollywood and Race
Nollywood and Gender
Nollywood and Class
Nollywood and Ethnicity
Nollywood and Globalization
Nollywood and the Nigerian Music Industry
Nollywood and Aesthetics
Nollywood and Nigerian Politics
Nollywood and the African Diaspora
Nollywood, Hollywood, and Bollywood
Nollywood and Language
Nollywood and Orality
Nollywood and Madness
Nollywood and Cultural Conflict
Nollywood and Marriage
Nollywood and Crime
Nollywood and Reflections on Africa

This special issue of The Global South (co-edited by Adetayo Alabi, Ifeanyi Ezeonu, and Kolawole Olaiya) is scheduled for publication in Fall 2012. Please submit abstracts and a short bio by November 4, 2011, final drafts of essays by March 4, 2011, and inquiries to Adetayo Alabi, aalabi@olemiss.edu. Essays should be 25-35 double-spaced pages long and should follow the MLA style.

You can read more about The Global South at http://www.jstor.org/action/showPublication?journalCode=globalsouth

“NOLLYWOOD AND THEATRE FOR DEVELOPMENT (TFD)” a Conference at Ahmadu Bello University, 14-18 November 2011


SONTA 2011 CONFERENCE

AHMADU BELLO UNIVERSITY, ZARIA

 DATE
– NOVEMBER 14th – 18th, 2011

VENUE:
AHMADU BELLO UNIVERSITY, ZARIA, NIGERIA

THEME: NOLLYWOOD AND THEATRE FOR DEVELOPMENT (TFD):
EXPLORING THE BRIDGES OF INTERACTION

Context

By November 2011, Nigeria would hopefully be in the sixth month after another successful transition from one government to another. This would be the third in the series since the return to democratic rule in 1999. However, the burning issues will remain how well this journey has been. Some of the crucial issues that
will dominate discussions will be the conduct of the elections, the state of
Nigeria’s democracy so far, and this would be measured by the extent to which citizens are benefiting from the democratic dispensation. Also, some of the issues that will continue to remain in the front burner for many Nigerians would be how democracy translates into good governance, accountability and how to tackle corruption. For democracy itself means nothing if it cannot translate to better and improved livelihood for the citizens. Questions on the how corruption has become a key aspect of patronage system and the dominant trait of our politics, and the overall corrosive effect on national development as it undermines state capacity and efficient delivery of public services and goods are matters of concern.

Therefore, dominating national debates will be the effect of corruption and how it may destabilize and discredit the democratic project in the short and long run. The net effect of all these on livelihoods and well-being of the citizens are issues from which no one can run.

It is also of importance to ask what platforms to enlist in these national debates. Outside of the National Assemblies where politicians harangue each other, we believe that the academe is a critical site for these debates to be prosecuted – for
analysis, for enlightenment and to offer suggestions because we must continue
to take a political position either not to ‘siddon look’ (do nothing) or to
implicate ourselves in the action of building the nation called Nigeria. At
this point in our national debate two platforms that do offer avenues for
debate are silver screen and the rusty and dusty arenas in urban and rural
communities across Nigeria. These two platforms are Nollywood and Theatre for
Development (TfD).

The conference is interested in exploring the interactions between these platforms. Hence the theme ‘Nollywood and Theatre for Development (TfD): Exploring the Bridges of Interaction.’ This theme captures our thinking that there are issues that both forms can address. It is possible therefore that points of convergence exist between the two in issues and in methodologies. We hope that the 2011 conference will go beyond the debate focusing on difference, of arguments whether Nollywood has invalidated TfD, or whether one has more relevance in certain locations than the other. Beyond the arguments on confrontation, we should also be exploring bridges of interaction as we confront Nigeria’s journey to realizing its full potentials.

Sub Themes:

  • Nollywood and Political Awareness
  • The Aesthetics and Semiotics of Nigerian Home Movies
  • Nollywood and Nigerian Culture
  • Globalization and Imperialism of Nigerian Home Movies
  • Nollywood and Representation of Gender Issues
  • New Trends in TfD Practice
  • TfD and Nigerian Political Elite/Awareness
  • TfD and Exploration of Gender Issues
  • TfD and Cultural Development
  • Language of TfD and Nollywood
  • Music in TfD and Nollywood
  • Dance in TfD and Nollywood
  • The Political Economy of TfD and Nollywood
  • The Dynamics of Numemclature: Nollywood Vs Home movies
  • The Sociology of Nollywood and TfD production

ü  Conversation
Between Nollywood and TfD (Special Round Table)

Onokome Okome (Lead Presenter to set the tone), Tunde Kelani, Jonathan Haynes,  Abdallah Uba, Mahmood Ali Balogun, Ayo Akinwale, Dave Awam Ankpa, Steve Oga Abah, John Illah, Foluke Ogunleye, Adagbada, Zulu Adigwe, Obi Okoli

First Call for Abstract June 30th 2011

Second and Final Call for Abstract 30th August 2011

Final date for accepted full papers 15th October 2011

Registration: Local Participants N5, 000 Conference Fee, N5, 000 Membership (N10, 000) Total for Members whose Departments are registered

Departmental Registration: N10, 000

Foreign Participants: $100 Dollars Each

Local Participants can pay into the following account

Name of Account: Society of Nigerian Theatre Artists

Account Number: 2501250494120

Bank: Unity BankNig.Plc

Send abstracts
to sakafewo@yahoo.com, Sakafewo@gmail.com, oga.abah@googlemail.com, Ogaabah@yahoo.com, aba.ogah@gmail.com

Note: There will be no proxy presentations. Unlisted papers will also not be allowed for presentation

UPDATE: 14 September 2011 PROGRAMME OF EVENTS:

SONTA ANNUAL
CONFERENCE

2011 (NOV. 14 – 17)

A.B.U. ZARIA

PROGRAMME OF EVENTS

NOV. 14TH                                                            ARRIVAL/REGISTRATION

NOV. 15TH

9.-00  – 12.00                                       OPENING CEREMONY

Chair:

8.30am                                 –
Participants are seated

9.00am                                 –              invited guest/special guests are seated

9.30am                                 –              Principal officers of the university, HRH, the   Lead Presenters

9.35am                                 –              National Anthem

9.40am                                 –              Introduction

9.45am                                 –              Remarks by the chairman of the occasion

9.50am                                 –              Welcome by LOC chairman: Professor O S Abah

9.55am                                 –              Address by SONTA President: Professor Emman S Dandaura

10.00am                               –              Address by the VC, ABU: Prof. Abdullahi Mustapha

10.05am                               –              Introduction of Lead Paper Presenters: 30 Minutes each.

1.Mr Michael Etherton:  (TfD)

2.ProfessorOnokomeOkome:(Nollywood)Why teach Nollywood?

11.05 am                              –
Launching of Music album and Video Films by Theatre & Perf. Arts Dept

11.10am                               –              Vote of thanks by the Convener Professor S A Kafewo

11.05am – 12.30am         –              Refreshment,  Socializing leading to Lunch break

2.30 – 5.30PM                                    ROUND TABLE SESSION

Moderator Professor John E S Illah

TfD
Team

a)      Professor Oga S Abah

b)      Professor J Z Okwori

c)       Dr Torbalav Iorapuu

d)      Professor Dave Awam Ankpa

e)      Ross Kidd

f)       David Kerr

 

Nollywood Team

a)      Mr Emeka Mba

b)      Mr Segun Oyekunle

c)       Mr Mahmood Ali-Balogun

d)      Ms Zainab Bewell

e)      Professor Abdallah Uba

f)       Mr Sadiq Balewa

Rapporteur                                         a)Dr Charles Nwadigwe

b) Dr Doki A Gowon

NOV. 16TH

7.00 – 8.00AM                   Breakfast

1st
session     –      8.00 – 10.00

Theme:
TfD and Cultural Development

Chairman                                           Professor
Musa Dauda

  1. JanePlastow:                                     Towards a radical Philosophy for Theatre forDevelopment
  2. Aondawose Boh:                             Theatre for Development, Culture and the National Question
  3. Komolafe A. Michael:                     Social Development and Government Reluctance: TFD to the rescue
  4. Hussaini U. Tsaku                             TfD and Cultural Development
  5. Onogu Williams Sunday:               Challenges of Theatre for Development (TfD) and the Need for Conceptual and methodological Adjustments.
  6. Uwawah, Allero:                              Virtual Communities as Space for Theatre for Development   (TfD)
  7. Sylanvus P. Dangoji:                        Ajiko Shrine as an Instance of Nollywood’s Commentary on Nigerian Political Culture.

Rapporteur                                                         a) Diran Ademiju-Bepo

b) Adakole Oklobia Jnr

2nd
Session          10.00 – 12.00noon

Chairman               Professor Dapo Adelugba

  1. Steve Daniel:       Ahmadu Bello University Theatre Experiments, Greenbelt  Environment Initiative and Community groups: Case Study of the SECODA  Initiative
  2. Festus O. Idoko:        Development without Participation and or participation without Development: Interrogating the crisis of development in Kushe Community (near Kuru) Using the theatre for Development Approach as a Possible Panacea.
  3. James Luper Sokpo:  The Practice of community Theatre in Nigeria:
    A  Methodological Discourse.
  4. Nasir Taofiq Olaide:    Drama as Exploratory Paradigm in Lock-up Institutions; A Case Study of the Neuropsychiatric Hospital Aro, Abeokuta.
  5. Uzoji, Emmanuel Ebere:   Theatre and Peace building in Africa: The A-Mashish Street Theatre’s Panacea to Conflict Resolution in Darfur.
  6. Mbachaga, Desen Jonathan:        Theatre for Development Participatory Monitoring and Feedback:  The Example of Ikyaan Amua Communities in Benue State.
  7. Umar-Buratai, M. I.   Confrontation or Cooption: Reflections on the Tendencies and Dilemma of TfD as a Development Strategy

Rapporteur                                         a) Jamilah Aliyu Mohammed

b)Festus Idoko

3rd  Session12.00noon – 2pm

Theme:  Nollywood Vs. Theatre for Development

Chairman       Professor Ayo Akinwale

  1. Obaje Umolo Gabriel:                    Harmonizing
    the concepts of Nollywood with those of Theatre  for
    Development:  the Existentialist Perspective.
  2. Martins Adegbe Ayegba:     Alternative Futures:  Developing Theatre for Development (TfD)  Strategies for Nollywood in the New Dispensation.
    1. Israel Memriomame Wekpe& Ms. Owens Patricia ONI-EDIGIN: Of Nollywood’s Reality Vs Theatre for Development (TfD) Reality:  A Site Performance of Nigeria’s Reality.
    2. Shaibu Jummah Umar:    A dramatic means that builds bridges of interaction:  A Study of   Nollywood
      and Theatre for Development (TfD).
    3. Bode Ojoniyi:  Between Myth, Ideology and Intentionality in Nigerian Home Vidoeo
      and its implications for the future of TFD.
    4. Charles Okwuowulu:   The Aesthetics of Iconographic Visual Effects in Nollywood: The Nonlinear
      Editor’s Technique
    5. Adagbada Olufadekemi:  Seeking Interplay between Nollywood and Stage: Political                                                              Awarenessin Yoruba Films as a Study case.

Rapporteur                                                         a) Elisha Rwang

b) Abdulrasheed Adeoye

Launch break 2.00 –2.30pm

 4th Session         2.30 – 4.30pm

Theme: Nollywood and Representation of Gender
Issues

            Chairman:    Professor VS Dugga

  1. Oludolapo Ojediran:   Singing in different Tunes:  Nollywood’s Reflection on Gender, Language and Culture.
  2. Rasheedah Liman:    Re-thinking the role of Home Video and Women Battering in Nigeria.
  3. Jamila A. Mohammed:           Misrepresentation of Women in Nollywood.
  4. Gwar,E. Terngu:   TFD and Exploration of Gender Issues; Implication for Policy Development and Practice
  5. Barclays, Foubiri Ayakoroma,  Nollywood and Cultural Development: Milestones and Prospects for a Journey of the Future

6. Rasheed, Olaitan Lateef. & Kunle Abogunjoko    The Concept of “Deux-Ex-Machina” in Conflict Resolution in Selected Nollywood Movies

7. Ameh Dennis Akoh & Mary Okocha: No, I Don’t Watch Nigerian Films: Reception and Popularity of Nollywood Films among Select Nigerian University Students

Rapporteur                                                         a)Emmanuel Uzoji

b) Charles Okwuowulu

5th Session: 4.30pm – 6.30pm

  • Theme: The Dynamics of Nomenclature: Nollywood Vs Home movies

Chairman       Professor Augustine Ufua Enahoro

  1. Iloma. Richard:    The Arts of Editing and its impacts on film production in Nigeria: Case study of a selected Nollywood films.
  2. Okeke, Tochukwu, J.   Culture and Societal change:  Implications for
    the Sustained Growth of Nollywood
  3. Edum S. and Obire Dennis:   Nollywood and the Leadership Question: A Study of Selected Nigerian Video Films.
  4. Joy Anurika Udeh:  Nollywood Themes and Development.
  5. Ben Due Iyav:  Nollywood as a tool for the Promotion of Nigerian Culture:  A  Review of Challenges.
  6. Christine Odi:  Nollywood and the Nigerian Reality: (Culture in Action?) A Study   of Selected Nigerian Home Videos.
  7. Onyekaba Cornelius E.  Home Video and Multiculturalism in Nigeria: A Study of the  Impact of Nollywood films in Nigerian
    youth.

Rapporteur                                                 a) S Y Daniel

b) Ali Sule Ako

DAY THREE – 17/11/2011

Session 1:  8.00 – 10.00

  • Theme: The Political Economy of TfD and Nollywood

Chairman    Professor S A Kafewo

  1. Oladipo Kalejaiye: Soyinka’s Theatre of Revolution: A Political Lesson for  Nollywood
  2. Hammed Olutoba Lawal:  Political Sensitization in Bolaji Amusan’s Baba Gomina
  3. Ernest-Samuel, Gloria C.  Political Discourse through Nollywoods evolving Popular Arts. Uche Ogbuagu’s Okudi-over in Focus.
  4. Gowon Ama Doki  Political Control representing Nigerian Politics and Politicians on  the Screen.
  5. Emmanuel Uzoji: theatre, Terrorism and Genocide in Nigeria: An Examination of  Theatre for Transformative Peace and conflicts in Plateau State.
  6. Nwagbo Nnenyelike:  Towards
    theatre criticism of Nigerian Film: A Study of Barclay’s Ayakoroma’s
    Nollywood critical standpoint.

Rapporteur                                                         a) Ben Iyav Due

b)S M Bappa

Session 2  10.00 – 12.00

Theme:  Sociology of Nollywood and TfD production

Chairman    Professor E S Dandaura

  1. James L. S. and Lilian Y. I.  Theatre for Development(TFD) A Practice or a Strategy?
  2. Ali Sule Ako: Our Men Are too Hungry for power.  Adopting
    the Theatre for development (TFD)  approach to re-evaluate the
    challenges and prospects of the 35% affirmative Action.
  3. Law Ikay Ezeh: Nollywood: has it represented, promoted, propagated and developed Nigerian Culture”
  4. Onyekaba Cornelius: Image Management and the Portrayal of the
    Nigeria Police in  selected Popular Nigerian  home videos.
  5. Victor S. Dugga: Upping the Ante:  Creating a Centre for
    Exellence in Multimedia                                                                           Technology and Cinematography for Nigeria Higher Education.
  6. Igaba Ogbu Sunday:Towards Participatory Video for Community
    Health  communication.
  7. Adeisa Peter Bello:   Music, Dance and Ebira TFD: “Ataba and
    Mattaga” Plays in Focus.
  8. Rwang, Elisha D.  Development Agencies and the Quest for
    Development:  An Appraisal of Strategies of UNICEF assisted projects in Nigeria.

Rapporteur
a)Williams Onogu

b) Christine Odi

Session  3: 12.00 – 2.00pm

Theme: The Aesthetics and Semiotics of Nigerian Home Movies

  1. Egwemi O. P and Illah:    The Rise of Igala Home Video
  2. Ibrahim, D. Music and Dance in the Domestic Hausa Film
  3. Abubakar A. Liman:  Democracy, cultural Hegemony and the war
    against Hausa  Video films.
  4. Muhammad R. Isah:  Nuances of Interaction between Samaru Project Drama and the                                                                              Dan-Ibro Hausa film
  5. Ayo Akinwale:  Remunerations and Nigeria Actor in Yoruba Home Video productions
  6. Mohammed Inuwa U.   Nigeria Home Video Movies:  the Boom and the crisis/dilemma of content and social Relevance.
  7. Ellison Domkap:   Semiology and Aesthetics of Sound:  Interpreting
    History in JETA Amata’s The Amazing Grace.
  8. Abaya, A. Samson: A Critical Discourse analysis of Sawaroide, A Yoruba Play.

6-8pm AGM

Day 4 18th November Departure

Call for Papers: Nollywood in Africa, Africa in Nollywood, International Conference at Pan-African University, Lagos. Abstract Deadline: 30 June 2011


Nollywood in Africa, Africa in Nollywood
An International Conference

School of Media and Communication (SMC)
Pan African University, Victoria Island, Lagos, Nigeria

Dates: July 21-24, 2011

Conveners:

Professor Emevwo Biakolo-Dean School of Media and Communication, PAU, VI, Nigeria & Professor Onookome Okome-University of Alberta, Edmonton, Canada

There has been a boom in the scholarship of Nollywood lately, so that it is now appropriate to speak of an intellectual niche that we may, for want of a better phrase, refer to as “Nollywood Studies.” As part of its template, this area of African Studies is concerned with the cultural product, the Nollywood film. There are also aspects dealing with production style, distribution, exhibition and financing, which the Nollywood industry inaugurated so quickly and spontaneously. Indeed, a body of mythologies has congealed around the way Nollywood makes its film. One documentary film after the other rehashes these mythologies ad infinitum. One remarkable feature of Nollywood as African’s “dream factory” is that it came into life and has lived its life without the express support of any Government or other institutional means. However, understanding the popularity that Nollywood enjoys across the African continent and its diasporas is a complex matter. Nollywood was able to achieve and sustain this popularity because it has managed to find new ways of migrating in and outside Africa without let or hindrance. Yet, its growth and unprecedented popularity as Africa’s “popular cinema” did not happen without peculiar challenges for the producers. In the early days, Nollywood was vilified in the as the art of idiots and some even vented to called it the “peddler’s art” in the same way that Hollywood was vilified in the 1890s. Even today, not everyone is happy about what it reads as local cultures. Many still regard it as “fake art.” Some still describe it as “infantile” in the ways it reads, makes and circulates culture. Inattentive to what the cultural brouhaha is all about, Nollywood producers have gone on to do what they know how to do best: produce more Nollywood films for their captive audiences across African and in the black diasporas.

This conference has two goals. First, it seeks to rephrase the significance of Nollywood as a popular vehicle for the production of culture and the provision of a systematic way of reading the Nollywood film (and industry) as popular art.

To answer these questions, the convener solicits abstracts that deal with: (1) the production and circulation of culture in Nollywood; (2) Nollywood in Africa and the African diasporas, (3) Nollywood’s Africa and the representations of Africa in Nollywood;(4) the audience of Nollywood; (5) women in/of Nollywood; (6) transgressive and un-cultural Nollywood; (7)sexualities and sexual preference in Nollywood film; (7) exhibition, financing and distribution in Nollywood; (8) the internet and Nollywood; (9) Nollywood and the development of national cinemas in Africa;(10) and Nollywood in the world.

Invited speakers include Professor Karin Barber (University of Birmingham, UK), Professor John Haynes (Brooklyn College, Long Island University, New York), Professor John McCall (University of Southern Illinois, US) and Prof. Dr. Till Forster (University of Basel, Switzerland).

KEYNOTE SPEAKERS listed:

Karin Barber

Jon Haynes

Manthia Diawara

Biodun Jeyifo

Abstracts and inquiries should be sent by email to Añuli Agina <aagina@smc.edu.ng>, Vivian Ojiyovwi-Adeoti <vadeoti@smc.edu.ng>, and Ijeoma Nwezeh <inwezeh@smc.edu.ng> no latter than June 30, 2011 and clearly marked, “Nollywood in Africa Conference” on the subject line of the email.

8th African Film and TV Programmes Market, BOB TV 2011 set to begin in Abuja on 15 March 2011


Bob TV

Nigerian filmmaker Amaka Igwe’s annual three day “Best of the Best” Film and TV Expo is set to begin tomorrow, March 15, 2011, at the Ladi Kwali Conference Centre, Sheraton Hotel and Towers, Abuja. 

To Read more about Bob TV, click here. To follow the organization and get updates on Facebook, click here. The Calender can be downloaded here. To Register, click here.

EVENTS

The Events of Bob-TV, include an exhibition (registration information here); a conference on “New Media, New Ideas, New Possibilities;” a Finance Forum; University Challenge (financed by DSTV), where student films will be screened, judged, and awarded; and professional workshops on makeup, acting, directing, films for internet, documentary programmes, intellectual property and others. 

FILMS

The following films will be screened: Amnesty of Ossy Affason ProductionsApostle Kasali  written and directed by Amaka Igwe ; Bursting Out produced by Emem Isong and directed by Desmond Elliot; The Stolen Voice of Remy jes Productions directed by Lancelot Oduwa Imasuen (found only one source for this citation); African Queen; Abuja Top Ladies of Ossy Okeke Jr Productions; Odum na Akwa Eke of Remy jes Productions.

RESOURCE PEOPLE

Resource People at BOB TV include Mrs. Bola Awosika Oyeleye, who will speak on “The Nuts and Bolts of Story Telling” and Speaking Well;” Dagogo Dimanas, who will lead a workshop on Makeup; Nollywood star actor and director Desmond Elliot, who will lead a workshop on acting; pioneering Nollywood director Chris Obi-Rabu, of Living in Bondage fame, who will lead a directing workshop; and on the “hotseat”  Ben Murray Bruce, Chairman of Silverbird Group; entertainment lawyer Ofere Ozako (when clicking on link, scroll down for bio), and others

BOB TV HONORS

According to their publicity material, the list of the  “Best of the Best” honours for 2011 has recently been released:

Acknowledging hardworking professionals who have contributed to the growth of the movie and television industry in Nigeria has always been an integral part of BOBTV. The recipients will be showcased and celebrated at the 8th African Film and TV Programmes Market, BOBTV 2011, scheduled to hold from the 15th to the 17th of March at the Ladi Kwali Conference Centre, Sheraton Hotel and Towers, Abuja. 

Ben Murray Bruce, Director of the Silverbird group, owners of the Most Beautiful Girl in Nigeria franchise, Silverbird Television and Rhythm 93.7 radio stations, was chosen in recognition of his mammoth contribution to the entertainment industry in Nigeria. 

Ossy Affason’s immense contributions to Nigeria’s movie market can’t be understated. The renowned movie marketer and distributor of Nollywood movies has been chosen for his pioneering contribution to movie marketing in Nollywood. 

Entertainment lawyer Efere Ozakor, who took a different approach to entertainment law in Nigeria was chosen for his outstanding contribution to the provision of legal framework for the Nigerian broadcast and entertainment industry. 

Dagogo Diminas, make-up and special effects pioneer, with over two decades of experience has been chosen for his pioneering excellence in special effects in Nollywood. 

This year’s recipients join the prestigious “Best of the Best” honours list that includes Dr. Raymond Dokpesi, Chief Peter Igho, Ms. Liz Benson, Mr. Andy Amenechi, Sam Loco Efe, Chika Onu, Dr. Umar Farouk Jibril, Antar Olaniyan and Engr. Tony Ikoku. Mr. Lekan Ogunbamwo, Mr. Sam Dede, Bukky Ajayi, amongst others.

Call for Papers: Reading and Producing Nollywood: An International Symposium. Abstract Submission Deadline 21 February 2011


SUMMARY:
Conveners:
 Professor Duro Oni (University of Lagos),
Professor Onookome Okome (University of Alberta/Pan African University),
Bic Leu (US Fulbright Fellow/University of Lagos)

Venue: University of Lagos, Akoka, Yaba, Lagos, Nigeria

Dates: Wednesday, March 23–Friday, March 25, 2011

Deadline for submission: Monday, February 21, 2011 tobic.leu@fulbrightmail.org and durooni@yahoo.co.uk

 
ABOUT:

Everyone in Nigeria has an opinion on and about Nollywood. This is also true of Africans and those in the African Diaspora. Opinion expressed by each respondent depends on a number of factors, some of which may have little or nothing to do with the content of Nollywood films or the industry itself. This is partly because Nollywood can no longer be ignored and partly because even for those who wish the industry a bad turn, all such predictions have failed.

For those who referred to this cinematic practice as a “peddler’s trade,” the reality now is that this “trade” has taken on the narrative of the Nigerian nation as a cultural and political entity. The narrative machine that it has generated has permeated all aspects of the Nigeria world, making the skeptics of its narrative focus and style furious at it for creating what some of them call “false culture”. Comments about what Nollywood presents to the public are therefore not always salutary. If anything, they are often acerbic. In fact, these comments cast doubt on both the narrative practices, the content of the narratives as social documents and the very industry itself.

Among the intellectual class in Nigeria, Nollywood films are more or less street art, one which should have no social import. One argument is that the makers of Nollywood are often seduced by quick financial turn over, and for this reason the content of Nollywood films is often secondary to ideologies and other cultural matters. Seduced by the allure of exaggerated earning reported for the industry, government cultural agencies have embraced Nollywood with care and some caution as they fight to have some of the benefits accruing to the industry. For operators of these agencies, the bottom line is expressed in the entrepreneurial sprits of workers in the industry, something that is lacking in the larger Nigerian society. Elsewhere in Africa, and in the African Diaspora, Nollywood has not been very well received either. Francophone filmmakers derided the style of this cinematic tradition until recently, and only began to rethink this visual practice when it became part and parcel of M-Net screening schedule, a feat which the Francophone film industry has yet to achieve. Even then the suspicions about the industry are still rife.

At the heart of the matter is, to repeat this point, that Nollywood is amateurish, crude in part and stylistically reminiscent of the pre-silent film era. Yet, not even the most avid critic denies the popularity of these films. Indeed, it is this popularity that has given critics and other cultural enthusiasts the steam and energy to think of this media as a viable medium of narrating contemporary Nigeria while at the same time denying it of the very social presence it commands among it teeming clientele.

This symposium is designed to investigate two crucial issues of negation-the perception and reading of Nollywood as a cultural practice. It will ask questions such as: How do we read Nollywood as culture and as an industry that produces culture? Even if it is intellectually justifiable to read Nollywood side by side other cinematic practices such as Hollywood and Bollywood, can such pairing bring out what Nollywood really represents to those for whom the films are made? Is it possible to read Nollywood outside the framework of popular culture? As popular culture, what critical category do we need to read it as an urban African art?

The conveners solicit proposals and abstracts from a broad spectrum dealing with the debate around “reading Nollywood”. Although not exclusive to the interests of the conveners, proposals and abstracts dealing with these themes are especially welcomed: the sociality of the art of Nollywood, Nollywood films and contemporary Nigerian culture; Nollywood and the art of the popular in Africa; Nollywood and the African cinema; the art of story-telling in Nollywood; genre and the Nollywood film; Nollywood in the city and the city in Nollywood; Nollywood and the economy of the occult; Nollywood abroad; politics and governance in Nollywood films; women behind the camera and in Nollywood films; and towards an epistemic framework for “reading” narrativity and locality in Nollywood films.


GUIDELINES:

Proposals and abstracts should be sent no later than February 21, 2011 to:bic.leu@fulbrightmail.org and durooni@yahoo.co.uk.

  • Send a title and an abstract (500 words or less), typed single-space in Times New Roman, 11 point font.
  • State the name(s) of the author(s), institutional affiliation(s), postal and e-mail addresses, and phone number(s).
  • Abstracts are to be sent by MS Word attachment only.

MOPPAN calls for an African International Film Centre in Tiga, Kano


The national president of MOPPAN, the Motion Picture Practitioner’s Association of Nigeria, Sani Muazu has recently posted on his blog a MOPPAN press release calling for the formation of an international film centre in Tiga, Kano State. The Press release seems to have been originally written in 2007.

In the third part of the press release, MOPPAN put forth several recommendations:

3.2.2.1 Infrastructure and Production Facilities 

MOPPAN noted that few state-of-the-art equipment exist as part of the production facilities in the industry in the North. The cinema infrastructure among others, such as equipment and theatres have equally been abandoned to decay or converted to warehouses, banks, shopping malls and venues for religious worship, etc. The new phenomenon of the home video production therefore does not enjoy the communal conviviality which was the order of the day in the cinema era. In the same vein, production, distribution and exhibition facilities in the film industry are virtually non-existent. 

Note must however be taken of the effort of private sector investors in Lagos, Port-Harcourt and recently Abuja by Silverbird and other stakeholders who are already financing a few standard film exhibition centres across some major cities of the country in an attempt to revive the film exhibition and cinema going culture. There are also a chain of video rental outlets and viewing centres in the urban centres and in some rural areas of the country, operating on the fringe. More of these structures and facilities are expected to be established in the North by these businesses and operated without recourse to northern cultural sensibilities. 

Recommendation:
MOPPAN therefore sees the need to go into, or encourage northern businessmen to go into the business of cinema as it should be in a predominantly Muslim environment. MOPPAN also recommends that Kano State Government, in its new policy thrust on Film Development through the establishment of a practitioners driven film centre in Tiga, Kano, should seek to collaborate with motion picture equipment and film stock manufacturers from different parts of the world for the establishment of factories or sales offices in the Kano, with adequate incentives to attract their participation.

3.2.2.2 Production
MOPPAN observed that Kano, as the centre of Kannywood, is unarguably one of the highest producers of film titles in the Nigeria and Africa, with over one thousand video movies per annum. Film production encompasses several processes of transforming a story or subject matter from idea to a finished product. With the establishment of the Resource Centre, it is hoped that the above stated problems about motion picture production would be mitigated to the barest minimum.

Recommendation:
In its view, MOPPAN believes the establishment of the International Film Resource Centre at Tiga in Kano, would bring all Guilds and Associations together under one umbrella at the centre and give them the capacity to address the problems of technical and content quality, format, standards, professionalism, aesthetic appeal and of course, finance are some of the challenges facing the industry today. 

3.2.2.3 Distribution, Exhibition and Marketing
MOPPAN observed the absence of effective structure and efficient and organised distribution network in the North, despite Kano being one of the major distribution centres of Films in Nigeria and sub Saharan Africa generally. MOPPAN also noted that there is the lack of political will on the part of Kano State Government to consider its strategic positioning and make plans to explore and revitalize the sector. 

Recommendation:
MOPPAN recommends that Kano State Government should utilise the International Film Resource Centre at Tiga to facilitate an enabling environment to encourage public-private partnership to enhance an organised and efficient distribution and marketing network.

3.2.2.4 Training and Capacity Building

MOPPAN noted that it has become imperative for practitioners to possess a certain basic qualification that is recognised and acceptable by all stakeholders nationwide to bridge the yawning gap created by dearth of requisite skills in the industry. 

Without training and capacity building therefore, it is difficult to maintain standards and ensure the regular supply of the needed manpower to feed the development needs of the industry. 

Recommendation:
MOPPAN recommends that the International Film Resource Centre Tiga, Kano should host a film school to be known as TIGA INTERNATIONAL FILM CENTRE, KANO to be affiliated to either Bayero University Kano or Ahmadu Bello University Zaria. The school can work with other similar training institutions around the world to professionalise the industry. The Centre would also work with and encourage the Government-owned National Film Institute and the NTA Television College in Jos and other training institutions and initiatives by stakeholders to function adequately and provide the services needed in this sub-sector. 

3.2.2.5 Funding and Financing
Modern filmmaking is business, big business. It is pertinent to note that all films, whether Government-sponsored or funded by corporations or individuals incur expenses in anticipation of expected returns. MOPPAN observed the absence of institutional funding, grants and endowment which has hampered the delivery power of the Northern Nigerian filmmaker. 

Recommendation:
MOPPAN strongly recommends the establishment of a Film Development Fund in Kano for the Northern motion picture industry in collaboration with other Northern Governors that are major stakeholders and beneficiaries.

3.2.2.6 Legal Environment 
MOPPAN observed that the Government has been making relevant and necessary efforts towards creating an enabling and enduring legal environment to stimulate the desired moral growth and development in the industry. The Kano Censors Board is however a source of concern to stakeholders and the law establishing the board is obviously done in a hurry.

Recommendation:
MOPPAN recommends that the Kano State Government should liaise with the National Film and Video Censors Board to harmonise and regularise its reforms until the motion picture industry is firmly put on a sound footing of focussed growth and development. The International Film Resource Centre would also maintain a standard legal office to continuously study and update its policies with regards to culture, tourism and growth without constituting itself as a nuisance and national/international embarrassment. 

From the foregoing, MOPPAN therefore recommends the establishment of an International Film Resource Centre, to be known as THE AFRICA INTERNATIONAL FILM RESOURCE CENTRE TIGA, KANO at the present place of the ROCK CASTLE HOTEL to, when fully established, serve as THE CENTRE that would seek to intervene through its registered and affiliated Guilds and Associations in all aspects of motion picture production in Northern Nigeria and give KANNYWOOD a true identity and KANO STATE its position of pride as the third leg of film production in Nigeria.

To read the entire press release, see Sani Mu’azu’s blog here.