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UK University orders Nigerian students to leave school

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Nigerian students at Teesside University in the United Kingdom have been told to quit the school and return to Nigeria over unpaid fees.

 

The students were blocked from their studies and reported to the Home Office after the value of the Naira went down wiping out their savings.

 

According to BBC on Wednesday, May 22, a spokesperson of the University said failure to pay was a breach of visa sponsorship requirements, and that it had “no choice” but to alert the Home Office. The Home Office said visa sponsorship decisions rested with the institution.

 

A group of students, 60 of whom shared their names with the BBC, began pressing the university for support after some people who defaulted on payments were frozen out of university accounts and involuntarily withdrawn from their courses.

 

An affected student, Adenike Ibrahim, who was close to handing in her dissertation at the end of two years of study when she missed one payment, was kicked off her course and reported to the Home Office.

 

She said: “I did default [on payments], but I’d already paid 90% of my tuition fees and I went to all of my classes, I called them and asked to reach an agreement, but they do not care what happens to their students.

 

“It has been heartbreaking for my son especially, he has been in so much distress since I told him,” Ms Ibrahim added.

 

Another student, who preferred to remain anonymous, said he had considered suicide and was not drinking or eating.

 

Credit: NAN

Meet Babatunde Olatunji, Yoruba master drummer who influenced the world.

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Meet Babatunde Olatunji, Yoruba master drummer who influenced the world.

 

A member of the Yoruba ethnic group, Olatunji was born in 1927 in the Nigerian village of Ajido, about forty miles from the capital of Lagos. His father was a fisherman. Traditional Yoruba drumming accompanied many of the events of village life, and Olatunji was taken by his great-aunt to hear drum ceremonies. The drummers celebrated every occasion, proclaimed the coming of local politicians, evoked the dreams and aspirations of their people. The drumbeat of his childhood became the life blood of his adult experience as Olatunji grew and traveled throughout the world popularizing the music of his Yoruban heritage.

 

While still in Africa in the late ’40s, the ever resourceful Olatunji read about the Rotary International Foundation scholarships offered to youths from war-affected countries. By 1950, Olatunji and his cousin were each awarded a scholarship and were on their way to America to attend school in Atlanta, Georgia. Olatunji came to the U.S. determined to succeed in the international arena, at the time he had no aspirations to be a musician.

 

In 1954, after graduating from Atlanta’s Moorehouse College with a degree in Diplomacy, Olatunji moved to New York to begin a Political Science postgraduate program in Public Administration at New York University.

 

Throughout his American education he had a unique perspective on the cultural divides between black and white Americans. Early on he realized that music, drumming in particular, had the ability to break down the long-established cultural divisions within the “Melting Pot” that America was thought to be in those days.

 

To cover his expenses he started a small drumming and dance group. Recognizing the influence of African polyrhythms in jazz, some of Olatunji’s earliest fans were the jazz greats of the time; men like John Coltrane, Yusef Lateef, Clark Terry, George Duvivier, Count Basie, Duke Ellington, Quincy Jones, and Dance luminary Alvin Ailey; not to mention the legendary producer John Hammond who produced Olatunji’s first album. Even Dr. Martin Luther King, Jr., (also a Moorehouse graduate) invited Olatunji to tour with him.

Kehinde Bankole wants you to know Funmilayo Ransome-Kuti did more than drive a car

Kehinde Bankole wants you to know Funmilayo Ransome-Kuti did more than drive a car

A new biopic centres around Ransome-Kuti leading the famous Abeokuta Women’s Revolt, a resistance movement led by the Abeokuta Women’s Union (AWU) in the late 1940s.

Kehinde Bankole is having a major moment. The actress has starred recently in a fleet of arthouse Nollywood films – Sista (2022), Adire (2023) – that have attained critical claim. For Adire she won Best Lead Actress at the recently concluded Africa Magic Viewers Choice Awards (AMVCA). She also landed the role of Moremi in Disney animated anthology series, Kizazi Moto (2023).

 

How does she decide the roles that she accepts?

 

“Definitely the story. Is it rooted in something? Then what is that something? And when I find that something, am I interested in telling the story?” she told Pulse Nigeria.

 

Bankole and Omowunmi Dada on the set of the film, Funmilayo Ransome Kuti

 

“Sometimes it’s just pure entertainment. I just chose like, ‘This is entertainment. I laughed while I was reading the script. People will feel good the way I felt. If I’m reading the script and I’m feeling good I want people to experience that.”

 

But for Funmilayo Ransome-Kuti, it was more than entertainment that piqued her interest.

 

“I felt very powerful,” she said of playing the character. “A very vital piece of history like this should not be hidden. It should also not be trivialised.”

 

Bankole accepted the role because she wanted to offer more perspective to Ransome-Kuti aside from being the first woman to drive a car and being the mother of the famous Afrobeats progenitor, Fela Anikulapo Kuti.

 

Funmilayo Ransome-Kuti, a leading woman activist in Nigeria and her son, the musician Fela

The film centres around Ransome-Kuti leading the famous Abeokuta Women’s Revolt (also called the Egba Women’s Tax Riot), a resistance movement led by the Abeokuta Women’s Union (AWU) in the late 1940s against the imposition of unfair taxation by the Nigerian colonial government.

“It should not just be the first woman to drive a car, Fela’s mom. No,” Bankole said. “It was a woman who led a movement, led a people, and even at a time, let the people know how powerful they were. There was nothing she did that she didn’t do with the help of the people. So the people at that time, I imagine how they must have felt so powerful because she let them know how much she needed them.”

 

Kehinde Bankole in Adire [Instagram/_kehindebankole]

 

Playing the role of the activist tagged the “Lioness of Lisabi” has also sparked in the actress a hunger for a similar agitator at a time of unprecedented economic upheaval across the country in contemporary times.

 

“That’s something we need now, somebody to let us believe in ourselves. Somebody to let us know who we are, the force that we are. And that if we all now come together and as a group of people, we can do so much,” she said.

 

Dennis Da-ala Mirilla

THE MBARI CLUB

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THE MBARI CLUB

 

In the year 1961, in an old Lebanese restaurant at Dugbe market in Ibadan, a bunch of writers and visual artists, came together and founded what came to be known as the Mbari Club. The club was founded with the help of Ulli Beier, a teacher at the University of Ibadan.

The philosophy of the Mbari Club was that the arts operate from the centre of the culture, and is located in its historical heritage and traditional values which educate the masses and reflect the society’s values.

 

Mbari became a major confluence for Nigerian artists, but also attracted artists from across Africa. The club was so prestigious, it had the best artists in Nigeria as members – the likes of Chinua Achebe, Wole Soyinka, Christopher Okigbo, Demas Nwoko, John P. Clark etc.

 

At Mbari, open air performances were done by artists, there was a gallery where painters and sculptors exhibited their works and there was a library. Visual Arts giants like Yusuf Grillo, Bruce Onabrakpeya frequented the club and showcased their works.

 

The Premieres of Wole Soyinka’s “the Trial of brother Jero and JP Clark’s “Song of a goat” were staged at Mbari. It was also at Mbari that renowned Nigerian Singer, composer and activist, Fela Anikulapo-Kuti made his debut as a bandleader.

 

In its days, Mbari was host to internationally renowned artists like US poet Langston Hughes, and Jacob Lawrence, possibly the most widely acclaimed African American artist of the last century to either play or exhibit their works.

 

Ulli Beier, the German scholar who had helped the artists establish the club, began publishing the “Black Orpheus” literary magazine. At the time, the magazine was a platform for African writers to have their stories published without having to wait for journals in the UK or US.

 

Mbari was considered to be the only Africa-based publisher publishing titles by African authors like JP Clark, Wole Soyinka and Christopher Okigbo.

 

Mbari became the home for art, and the exhibition of the talent of the African continent and the new born Nation, Nigeria by giving visibility to the artists. Unfortunately, the breakout of the Civil war in 1967 interrupted probably the most successful movement of artists in Africa and the diaspora.

 

Peep that Peugot 403 parked in front of the club.

Hike in movie ticket prices drives Nigerian cinema’s N2.25B revenue in Q1 2024

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The Nigerian cinema industry recorded a revenue of N2.25 billion from ticket sales in the first quarter (Q1) of 2024, reflecting a significant surge compared to the previous year.

 

This data was revealed in the Nigerian Box Office Year Book for 2023, published by Filmone Entertainment, an independent film distribution and production company, on Monday, according to the News Agency of Nigeria.

 

The N2.25 billion revenue marks a substantial improvement over the N1.5 billion generated in the first quarter of 2023. This represents a 46% increase in box office revenues year-on-year.

 

Revenue increase can be tied in part to the increase in ticket prices, which have risen by 52% from an average of N2,479 in Q1 2023 to N3,765 in Q1 2024.

 

A breakdown

Despite the substantial increase in revenue, the total number of admissions at cinemas saw a slight decline.

 

The first quarter of 2024 recorded 596,609 admissions, compared to 620,477 admissions during the same period in 2023, indicating a 4% decrease.

This decline in admissions, despite higher ticket prices, suggests a negative correlation between ticket prices and the number of cinemagoers.

The report highlights that Nollywood films dominated the box office, accounting for 56% of the total revenue.

The highest-grossing film for the period was “A Tribe Called Judah,” which alone contributed 27% of the overall Q1 revenue. In contrast, Warner Bros.’ “Aquaman and the Lost Kingdom” accounted for 11% of the quarterly earnings.

In terms of new content, the Nigerian market saw the release of 40 new titles in the first quarter, excluding spillovers from previous periods. This influx of new films underscores the vibrancy and productivity of the local film industry.

 

What to know

The details provided in the report offer a comprehensive look at the dynamics of Nigeria’s cinema sector. The significant revenue growth, despite a decline in admissions, shows that ehe substantial increases in ticket prices have not deterred overall revenue growth but impacted the number of admissions. This indicates a level of price sensitivity among cinema-goers.

 

The dominance of Nollywood films, particularly “A Tribe Called Judah,” highlights the strong local preference for indigenous content, which continues to draw significant box office revenues.

 

The cinema industry’s ability to generate higher revenues in the face of reduced admissions reflects its resilience and the effectiveness of pricing strategies and marketing efforts.

 

More insight

Looking ahead, the continued performance of the cinema sector will depend on several factors, including the balance of ticket pricing, the quality and appeal of film releases, and broader economic conditions. The robust performance in Q1 2024 sets a positive tone for the rest of the year, suggesting that with strategic adjustments, the sector could continue to thrive despite the challenges posed by fluctuating admission numbers.

Hike in movie ticket prices drives Nigerian cinema’s N2.25B revenue in Q1 2024

0

Hike in movie ticket prices drives Nigerian cinema’s N2.25B revenue in Q1 2024

 

The Nigerian cinema industry recorded a revenue of N2.25 billion from ticket sales in the first quarter (Q1) of 2024, reflecting a significant surge compared to the previous year.

 

This data was revealed in the Nigerian Box Office Year Book for 2023, published by Filmone Entertainment, an independent film distribution and production company, on Monday, according to the News Agency of Nigeria.

 

The N2.25 billion revenue marks a substantial improvement over the N1.5 billion generated in the first quarter of 2023. This represents a 46% increase in box office revenues year-on-year.

 

Revenue increase can be tied in part to the increase in ticket prices, which have risen by 52% from an average of N2,479 in Q1 2023 to N3,765 in Q1 2024.

 

A breakdown

Despite the substantial increase in revenue, the total number of admissions at cinemas saw a slight decline.

 

 

The first quarter of 2024 recorded 596,609 admissions, compared to 620,477 admissions during the same period in 2023, indicating a 4% decrease.

This decline in admissions, despite higher ticket prices, suggests a negative correlation between ticket prices and the number of cinemagoers.

The report highlights that Nollywood films dominated the box office, accounting for 56% of the total revenue.

The highest-grossing film for the period was “A Tribe Called Judah,” which alone contributed 27% of the overall Q1 revenue. In contrast, Warner Bros.’ “Aquaman and the Lost Kingdom” accounted for 11% of the quarterly earnings.

In terms of new content, the Nigerian market saw the release of 40 new titles in the first quarter, excluding spillovers from previous periods. This influx of new films underscores the vibrancy and productivity of the local film industry.

 

What to know

The details provided in the report offer a comprehensive look at the dynamics of Nigeria’s cinema sector. The significant revenue growth, despite a decline in admissions, shows that ehe substantial increases in ticket prices have not deterred overall revenue growth but impacted the number of admissions. This indicates a level of price sensitivity among cinema-goers.

 

The dominance of Nollywood films, particularly “A Tribe Called Judah,” highlights the strong local preference for indigenous content, which continues to draw significant box office revenues.

 

The cinema industry’s ability to generate higher revenues in the face of reduced admissions reflects its resilience and the effectiveness of pricing strategies and marketing efforts.

 

More insight

Looking ahead, the continued performance of the cinema sector will depend on several factors, including the balance of ticket pricing, the quality and appeal of film releases, and broader economic conditions. The robust performance in Q1 2024 sets a positive tone for the rest of the year, suggesting that with strategic adjustments, the sector could continue to thrive despite the challenges posed by fluctuating admission numbers.

You told filmmakers not to hire me’, actress Motilola Akinlami calls out colleague, Kunle Afod

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Actress Motilola Akinlami has accused her senior colleague, Kunle Afod, of obstructing her career in Nollywood by claiming he blocks her from getting roles.

 

In an Instagram post on Monday, she claimed that Kunle has consistently undermined her career by preventing producers from reaching out to her for roles in the industry. She also accused the actor’s wife of defaming her.

Her words: “I am boiling inside of me right now. I have kept this thing for over five years. This is the fifth year running. I beg you in the name of God. All the powers that be in this industry already know about this matter. Mr. Kunle Afod please leave me alone. Please leave me and my career. What have I done to you? They will call me for jobs you will say they should remove me if they want to use you.

 

“Yomi Olorunlaye called me for a job this evening and they said Afod will direct. And I said okay. Only for him to call me back that Afod said he cannot work with me. Afod what have I done? I have told you I no longer want to work with you. For all these years you said they should not call me for jobs any longer.

 

“When I was working with you, I knew how your wife was running from pillar to post defaming me on Instagram. Go and hold your wife. Leave me alone. You said Femi Adebayo should not come to my set, and he is no longer coming. This is like the tenth time I will be rejected for jobs.

 

“So many people have been asking me why they have not been seeing me in movies. It is because of Afod. If they call me, he will say they should not call me. The reason is that I no longer want to be friends with him. This was how they did to Junior Pope. They will first blacklist you. He has been waiting to see my RIP for the past five years, but God was with me. You are not God. You have been obstructing me on so many big jobs I ought to have been on,” she said.

 

Funmilayo Ransom Kuti’ movie biopic hits N32M in cinema opening weekend

The Nollywood biopic “Funmilayo Ransom Kuti” has made a debut of N32 million in its opening weekend following its release on Friday, May 17, 2024.

This was disclosed by the Nigerian Box Office (NBO) via the social media platform X on Monday, May 20, 2024.

According to data from the NBO, the biopic not only topped the weekend box office charts but also set a new record for the highest-grossing opening weekend for a biopic in Nigeria.

“Another huge opening for a Nollywood movie. That makes it 11 weekends out of 21 weekends in 2024 that a Nollywood movie has topped the box office. For context, last year had 14 weeks out of 52. 2022 was just 9 weeks out of 52.” https://x.com/NGAboxoffice/status/1792625846336815348

 

Directed by Bolanle Austen-Peters, one of Nigeria’s most powerful female personalities in the Nollywood industry, “Funmilayo Ransom Kuti” tells the compelling life story of the late Funmilayo Ransome-Kuti.

 

A renowned Nigerian educator, political reformer, women’s rights activist, and mother of Afrobeat legend Fela Anikulapo-Kuti, Funmilayo Ransome-Kuti’s legacy is celebrated in this cinematic portrayal.

 

The biopic stars Kehinde Bankole, the 2024 best actress winner at the recently concluded African Magic Viewers Choice Award event.

 

The film also features a stellar ensemble cast, including veteran actors Ajoke Silva, Adebayo Salami, Omowunmi Dada, Adunni Ade, Jide Kosoko, Dele Odule, Ibrahim Suleiman, Bikiya Graham-Douglas, Yewande Osamein, and Iyimide Ayo-Olumoko.

 

“Funmilayo Ransom Kuti” biopic explores significant phases of Ransome-Kuti’s life, including her education at Abeokuta Grammar School, her marriage to Israel Ransome-Kuti, and her revolutionary fight against colonialism and patriarchy. The film highlights her pivotal role in creating the Abeokuta Women’s Union, which was instrumental in advocating for women’s rights and challenging colonial governance.

 

What to know

The film was written by Tunde Babalola, and directed and produced by Bolanle Austen Peters alongside Timi Austen Peters, Yemi Idowu, Murital Ibrahim, Osanemo Fayemiwo and Deji Alli.

 

At the Premiere of Funmilayo Ransome Kuti, Governor Dapo Abiodun of Ogun, Babajide Sanwoolu of Lagos State, former Gov Donald Duke of Cross Rivers State, the Ransome Kuti Family, actors and crew of the award-winning film: Best Movie, Best Screenplay AFRIFF 2023 Best Screenplay, AMVCA 2024 were present.

 

Yeni and Femi Kuti, the children of Afrobeats legend Fela Kuti, feature in the film.

 

Yeni is best known today for founding Felabration and co-founding the New Afrika Shrine. But she was a singer and dancer with Fela’s Egypt 80 in the 1980s. She is also one of the hosts of TVC’s ‘Your View’.

 

Femi, on the other hand, started his band, Positive Force, establishing himself as an artist independent of his father’s legacy.

Nigeria Government to launch 1.4 petrabytes capacity data centre before May 29

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The Federal Government has said it would launch a state-of-the-art data centre capable of storing up to 1.4 petabytes of data before 29 May 2024.

 

According to a statement from the Interior Ministry, the Minister of interior, Dr. Olubunmi Tunji-Ojo made this announcement during a meeting with the delegation of the National Union of Nigerian Associations in Italy (NUNAI) led by its President, Chief Rowland Ndukuba at his office in Abuja on Monday.

 

He added that the data centre will house a comprehensive range of critical national information, including citizens’ bio-data.

 

Emphasising the importance of embracing technology and innovation, the Minister stressed that modern challenges require novel, cutting-edge technological solutions. He added that integrating advanced technology would enhance efficiency and accountability across national operations.

 

Establishment of passport offices

In response to the requests of NUNAl for intervention, collaboration, and the establishment of passport front offices, Dr. Tunji-Ojo assured that these requests would be carefully reviewed and that appropriate information would be communicated in due course.

 

“Furthermore, the Minister made it clear that the Federal Government would not condone illegal migration and that Nigerians attempting to emigrate through unlawful means will face the consequences of their actions.

 

“Dr. Tunji-Ojo also assured the NUNAI delegation that the well-being of Nigerians in Italy is a priority and that the Ministry of Interior will explore collaboration with the Ministry of Foreign Affairs to support stranded Nigerians abroad,” the statement read.

 

Earlier, the President of NUNAI, Chief Rowland Ndukuba, expressed gratitude for the Ministry’s efforts in addressing the challenges faced by Nigerians in Italy. He urged the Minister and the Ministry to continue collaborative efforts to assist stranded Nigerians in Italy.

 

More insights on data centre

Nigeria has seen a surge in investments in data centres in recent times, mostly from private organizations. The government planning to set up its own data centre will further expand the horizon and boost the efforts to ensure all Nigerian data are hosted locally.

 

Companies like Rack Centre, MDXi, Africa Data Centre (ADC), and Airtel Africa have recently committed millions of dollars to build data centres in Nigeria.

 

It is important to note that building a data centre is a cost-intensive project. It is unclear yet how the government will fund this project even as it plans to launch it in less than two weeks.

UK calls out Nigerian government over unpaid £8.4 million embassy ground rent since 2003

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UK calls out Nigerian government over unpaid £8.4 million embassy ground rent since 2003

 

The UK Transport for London (TfL) has asked the Nigerian government —included in a list of “stubborn minority” debtors— to pay up its embassy congestion charge, which now stands at £8.4 million and has been unpaid for about 20 years.

 

Nigeria, owing £8,395,055, ranked fourth among the UK’s 48 foreign debtors who have shirked embassy rent since 2003.

 

The American embassy ranked first in the list of debtors owing nearly £15 million, followed by Japan (£10 million) and the High Commission for India (£8.5 million).

 

“The majority of embassies in London do pay the charge, but there remains a stubborn minority who refuse to do so, despite our representations through diplomatic channels,” the UK government said.

 

TfL clarified that the embassy congestion charge was payment for service, not tax, which makes it applicable to diplomats.

 

The congestion charge, according to TfL, “is a charge for a service and not a tax,” adding that “diplomats are not exempted from paying it.”

 

The UK government said it was pushing to escalate the matter to the International Court of Justice to ensure offending nations get penalised should they refuse to pay.

 

“We will continue to pursue all unpaid Congestion Charge fees and related penalty charge notices and are pushing for the matter to be taken up at the International Court of Justice,” TfL stated.

 

The callout was reminiscent of Nigerian FCT minister Nyesom Wike’s appeal, who in February, asked the British High Commission and other foreign embassies to pay up their ground rent or risk revocation of licence.